Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory

Abstract

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.

Application of the Theory of Brainstorming in Visual Teaching of Music

“…At present, the teaching form of music class in middle schools and elementary schools is fixed [28,29]. However, as students can get more information in these days, the stereotyped teaching form not only affects teachers' enthusiasm for teaching, but also kills students' enthusiasm for music learning [30,31]. In music teaching, it's not that each teaching module exists separately, the design of each visual module emphasizes independent learning and cooperative learning.…”