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Research in music cognition has shown that time as a subjective structuring of events in music, differs from the concept of time in physics. [2] Listeners to music do not perceive rhythm on a continuous scale, but recognise rhythmic categories that function as a reference relative to which the deviations in timing can be appreciated.
Although those who attempt the strategy believe they are learning absolute pitch, the ability is generally not musically useful, [3] and their absolute tonal memory declines substantially or completely over time if not constantly reinforced. [4] When listening to music, tones are stored in short-term memory as they are heard.
In societies without mechanical timekeeping, songs for mobilisation–calling members of a community together for a collective task–were extremely important. [4] Both hunting and the keeping of livestock tended to involve small groups or individuals, usually boys and young men, who would spend long hours working, away from the centers of settlement.
The process of interpreting musical notation is often referred to as reading music. Distinct methods of notation have been invented throughout history by various cultures. Much information about ancient music notation is fragmentary. Even in the same time frames, different styles of music and different cultures use different music notation methods.
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre , articulation , and musical phrasing are nearly universal to all instruments.
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Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble, such as a concert band) or of adapting music composed for another medium for an orchestra.