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Auditory induction in the brain is used to create a sense of illusory continuity, when a background noise is interrupted by a foreground noise. [4] Even when the foreground noise is completely removed and replaced, listeners still report being able to hear the foreground sound that was removed.
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. [1] According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through ...
Sound signal: a foreground sound; e.g. a dog, an alarm clock; messages/meaning is usually carried through sound signals. Sound object: the smallest possible recognizable sonic entity (recognizable by its amplitude envelope) Acousmatic: a description for sounds whose sources are out of sight or unknown. This also relates to acousmatic music.
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure, the Ursatz.
The term "soundscape" can also refer to an audio recording or performance of sounds that create the sensation of experiencing a particular acoustic environment, or compositions created using the found sounds (sounds derived from objects not standardly used for music) of an acoustic environment, either exclusively or in conjunction with musical ...
Set of bell plates, range C2–E4, a struck idiophone (played with mallets) or friction idiophone (bowed) Claves (foreground), a struck idiophone. An idiophone is any musical instrument that creates sound primarily by the vibration of the instrument itself, without the use of air flow (as with aerophones), strings (chordophones), membranes (membranophones) or electricity (electrophones).
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In musical composition, a sound mass or sound collective is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring, "the boundary between sound and noise".
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