Chromaticism: A theoretical construction or a practical transformation?

Katsanevaki, Athena

doi:10.2298/muz1111159k

Cited by 4 publications

(1 citation statement)

References 2 publications

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“…Ajax formulas are ideal in asserting the evolution, as I have explained in the past (Katsanevaki 2017a, Part A, 178-84: Chromaticism and446f. andKatsanevaki 2011),22 following and completing the works of previous researchers. Nonetheless, instead of asserting just a common musical micro-scale, the Ajax melodies assert equally (as in the case of Seikilos) structures and melodic processes responsible for the genesis of these micro-scales found in both the ancient Greek musical fragments and the contemporary traditions in the area of Western Greece.…”

Section: 2mentioning

confidence: 99%

The Evolutionary Pentatonism in Nicomachus, the Extant Fragments and an Ancient Greek Musical Praxis

Katsanevaki

2023

Greek Rom. Music. Stud.

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Pentatonism in ancient Greek music refers to so called ‘gapped scales’, quoted by Pseudo-Aristotle, Pseudo-Plutarch, Nicomachus and Aristides Quintilianus. In the case of Nicomachus, the interchangeabilities of pitches and positions of notes, with the musical nomenclature, make the text incomprehensible. These extracts have already been analyzed by Chailley (1956, 1968), Barker (1989, 2007) and Franklin (2019). It is important though, to shift from the Western concept of music in order to unfold the musical process revealed in the texts. Ethnomusicological research reveals a network of musical dialects which follows an evolutionary process and suggests new possible interpretations: it breaks down the predominant concept of the theory of the cycle of the fifths and leads to a ‘flexible’ pentatonism, produced by focal points created by a ‘building up’ or ‘making’ of musical scales. Additionally, the critical approach of the extant fragments in the environs of the field of Ethnomusicology offers new interpretations for an ancient Greek musical praxis.

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Section: 2mentioning

confidence: 99%

The Evolutionary Pentatonism in Nicomachus, the Extant Fragments and an Ancient Greek Musical Praxis

Katsanevaki

2023

Greek Rom. Music. Stud.

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Anagram Technique: The Investigation of Tonal Music into New Frequencies for Composition

Budiawan

Djohan

Sittiprapaporn

2023

2023 Joint International Conference on Digital Arts, Media and Technology With ECTI Northern Section Conference on Electrical,

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Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2: Ancient to Seventeenth Century

Nikolsky¹

2016

Front. Psychol.

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This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. Part-1 of this paper described the origin of tonal organization from verbal speech, its progress from indefinite to definite pitch, and the emergence of two main harmonic orders: heptatonic and pentatonic, each characterized by its own method of handling tension at both domains, of tonal and social organization. Part-2, here, completes the line of historic development from Antiquity to seventeenth century. Vast archeological data is used to identify the perception of music structures that tells apart the temple/palace music of urban civilizations and the folk music of village cultures. The “mega-pitch-set” (MPS) organization is found to constitute the principal contribution of a math-based music theory to a new diatonic order. All ramifications for psychology of music are discussed in detail. “Non-octave hypermode” is identified as a peculiar homogenous type of MPS, typical for plainchant. The origin of chromaticism is thoroughly examined as an earmark of “art-music” that opposes earlier forms of folk music. The role of aesthetic emotions in formation of chromatic alteration is defined. The development of chromatic system is traced throughout history, highlighting its modern implementation in “hemiolic modes.” The connection between tonal organization in music and spatial organization in pictorial art is established in the Baroque culture, and then tracked back to prehistoric times. Both are shown to present a form of abstraction of environmental topographic schemes, and music is proposed as the primary medium for its cultivation through the concept of pitch. The comparison of stages of tonal organization and typologies of musical texture is used to define the overall course of tonal evolution. Tonal organization of pitch reflects the culture of thinking, adopted as a standard to optimize individual perception of reality within a social group in a way optimal for one's success, thereby setting the conventions of intellectual and emotional intelligence.

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Chromaticism: A theoretical construction or a practical transformation?

Cited by 4 publications

References 2 publications

The Evolutionary Pentatonism in Nicomachus, the Extant Fragments and an Ancient Greek Musical Praxis

The Evolutionary Pentatonism in Nicomachus, the Extant Fragments and an Ancient Greek Musical Praxis

Anagram Technique: The Investigation of Tonal Music into New Frequencies for Composition

Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2: Ancient to Seventeenth Century

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