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A keyboard depicting note-color associations. The colors are experienced with the sounding of the note, and are not necessarily localized to piano keys. Chromesthesia or sound-to-color synesthesia is a type of synesthesia in which sound involuntarily evokes an experience of color, shape, and movement.
Ecomusicology considers aspects of environmental sustainability within music production and performance. For example, the relationship between a demand for a certain musical instrument as well as the costs and impacts of its production, has been an area of interest for Ecomusicologists investigating the sustainability of the consumption and production of music or musical instruments. [13]
Environmental themes in music have ranged from an appreciation of nature and wilderness and advocating for its protection, to environmental degradation, pollution and climate change. The earliest popular music exploring environmentalist topics can be traced back to the 19th century and early folk, gospel and blues music.
Grapheme–color synesthetes, as a group, share significant preferences for the color of each letter (e.g., A tends to be red; O tends to be white or black; S tends to be yellow, etc.) [20] Nonetheless, there is a great variety in types of synesthesia, and within each type, individuals report differing triggers for their sensations and ...
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
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The incorporation of bird song in music is one of the most widely studied forms of biomusic. Notable in this regard is the French composer Olivier Messiaen who began incorporating accurately transcribed bird songs into his music in 1952. One obstacle facing the use of bird songs in music is their complexity and usually very high register.
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