Introduction

Christensen, Thomas

doi:10.1017/chol9780521623711.002

Cited by 8 publications

(8 citation statements)

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“…Embodied music cognition thus carries important implications for both music theory and music education, and shifts our basic understanding of learning, teaching, and the nature of music's fundamentals (Silverman, 2012;van der Schyff et al, 2016;Schiavio and Schyff, 2018). Beyond challenging Cartesian dualism, the propositions of 4E music cognition reach deeper to problematize the Platonic binary of theoros/praktike on which the curricular separation between music theory and practice is fundamentally based (Christensen, 2002), and articulates a more complex, dynamic account wherein practice and theory are mutually transformative.…”

Section: Beyond Theory Vs Practice: 4e Music Cognition In Briefmentioning

confidence: 99%

“…Speculative theory-the oldest of the three, stretching back to Pythagoras-is concerned with basic musical categories and nature of the relationships between them (e.g., cosmological harmony, tetrachords, scales, meter); Regulative theory is concerned with constructing systems of musical practice (e.g., methods for structuring music, including notation, and pedagogy), and (3) Analytic theory is concerned with excavating the forms (or logic) of existing works (e.g., techniques for identifying structures, patterns, and forms). See Christensen (2002). 3 Or praeceptum-exemplum-imitatio (observe, memorize, imitate) McCreless, Patrick.…”

Section: Beyond Theory Vs Practice: 4e Music Cognition In Briefmentioning

confidence: 99%

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An Enactive Approach to Learning Music Theory? Obstacles and Openings

Gutierrez

2019

Front. Educ.

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While music theory learning remains at the core of traditional music education, calls for more embodied and enactive approaches to music instruction rarely address theory pedagogy directly. This paper reconsiders theory teaching through a 4E lens, by (1) clarifying the obstacles that attend a legacy of Cartesian thought underlying conventional theory curricula, and (2) introducing an affordance-rich curricular tool that promotes embodied and enactive sense-making in music theory classroom environment. The tool is an adaptation of Conduction ® -a lexicon of signs and gestures created by jazz artist Butch Morris as a flexible alternative to notation, allowing Morris to compose in real-time with an ensemble of any type, size, or background. In a theory-learning context, students bring their instruments to class, form an ensemble, and take turns using signs and gestures to conduct their peers, guided through processes aligned with learning objectives (e.g., harmonic minor scales, Neapolitan chords, or polytonality), as well as to more freely experiment with musical structure in situ, with minimal or no reliance upon notation. Listening skills, structural knowledge, analytical proficiency, and performance technique are all enacted in the three roles students play: individual performer, ensemble member, and conductor. As students are placed in contact with the conceptual metaphors that scaffold a sense of musical structure, the cumulative effect is a deeply embodied sense of musicality, and an experience of music theory not just as an abstract exercise, but as theorizing in the present through bodily action.

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Section: Beyond Theory Vs Practice: 4e Music Cognition In Briefmentioning

confidence: 99%

Section: Beyond Theory Vs Practice: 4e Music Cognition In Briefmentioning

confidence: 99%

An Enactive Approach to Learning Music Theory? Obstacles and Openings

Gutierrez

2019

Front. Educ.

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“…Since, by definition, no irrational number is equal to any rational number, the first three issues the group identified comprise mathematical truisms. In this connection, Sugree et al’s (1997) survey of tunings within various historical and cultural contexts refers to 12- and 5-fold equal divisions of a 2:1 interval: the 12-fold division with regard to Chinese and European-derived tuning since the 16th century (Christensen, 2006, p. 205; Robinson, 1980), the latter with regard to sléndro tuning of Indonesia (e.g., Rahn, 2011). Concerning the final issue of this list, the report by Sugree et al provides a survey of various kinds of tuning that, as in Helmholtz’s (1885, pp.…”

Section: Measurements Included In the Present Studymentioning

confidence: 99%

“Equiheptatonic” Tuning in Thai Classical Music: Strict Propriety and Step Sizes

Rahn

2019

Music & Science

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Tunings of Thai classical music have been a source of disagreement during the past century. Focusing on 28 ensembles, the present study analyzes ways in which the intervals they produce can be formulated so that they are both falsifiable and verifiable. Of these, a model that corresponds to Rothenberg's formulation of strict propriety excels among pairs of tones that span different numbers of scale degrees. According to Rothenberg's model of strict propriety, intervals that span fewer scale degrees are smaller than intervals that span more scale degrees. Further, according to a formulation of clear patterning among intervals that span precisely two scale degrees (i.e., a single step), there is no clear pattern of one-step intervals unless all the instances of at least one interval that spans two particular consecutive scale degrees are smaller and/ or larger than all the instances of all the other intervals that span two consecutive scale degrees. Among the 28 ensembles, single-step intervals tend to constitute chains that overlap in size rather than a clear pattern of small and large intervals.

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“…Bach's Well-tempered Clavier stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. It contains 48 preludes and fugues, it is the peak of Bach's musical creation, the work has an important position in the western music world [1], commonly known in English as the 48 preludes and fugues, are at the centre of European civilisation, and are the beloved property of generations of people all over the world. Hans Guido Von Bullow likened it to the musical "Old Testament bible" [2].…”

Section: Introductionmentioning

confidence: 99%

Statistical analysis of Bach’s Well-tempered Clavier

Chen

2024

SHS Web of Conferences

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Bach’s Well-tempered Clavier is the greatest work of Bach keyboard music, it contains 48 preludes and fugue, it is one of Bach’s representative works of music creation. This paper firstly inputs MIDI data of Bach’s Welltempered Clavier, and then constructs the analysis model of Bach’s Well-tempered Clavier. The experimental results show that the envelope of the number of occurrences of each musical note is in the shape of a double hump, indicating that the statistical number of musical notes played by the right hand or the left hand should be in the shape of a single camel peak in the musical range.

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Introduction

Cited by 8 publications

References 0 publications

An Enactive Approach to Learning Music Theory? Obstacles and Openings

An Enactive Approach to Learning Music Theory? Obstacles and Openings

“Equiheptatonic” Tuning in Thai Classical Music: Strict Propriety and Step Sizes

Statistical analysis of Bach’s Well-tempered Clavier

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