Music History - Science topic

We will probably never know with enough certainty because of the lack of data. One example would be the music of the native cultures in Mexico, firstly because it was more of an oral tradition, and secondly because there's little to none physical register of the musical practices of these people

The tar is a musical instrument that originated in Iran and Caucasus region and is commonly use in persian-Azerbaijani classical music. It has a long history in the region, dating back to the medieval era, maybe to the ancient times. The word 'tar' means 'string' in farsi, and the instrument is so named bacause it has 6 strings that are plucked by the player. The instrument has been important part of Persian and Azeri music for centuries and is still widely used in today. It is also common in Turkey's Kars, Ardahan and Erzurum provinces.

Azerbaijanis claim that tar is their national instrument and do not accept its origin from Iran. On the other hand, according to some Armenian sources, Tar is the Armenian national musical instrument, Iran and Turks took tar from them.

One book that I can recommend on the issue is 'The Art of Persian Music' (Jean During, a French musicologist).

I would like to share another study but in Turkish in the following link: https://porteakademik.itu.edu.tr/docs/librariesprovider181/Yay%C4%B1n-Ar%C5%9Fivi/9.-say%C4%B1/porte_akademik-9-9.pdf İts abstract is below:

A Study on the Selection of the Clef in Tar Training: Tar is a folk instrument played widely in Azerbaijan and Iran, in some parts of the Near

East countries and especially in Kars, Iğdır and around in Turkey. It’s a generally accepted idea that where tar is mostly improved in playing and education is Azerbaijan. The most important reason for this general idea is that the principles for tar playing and teaching were determined in the beginning of the 20th century in Azerbaijan and improved on strong basis

through a period of time of approximately one hundred years. When talking about those essential principles, the key system used in writing tar notes can firstly be counted. Works, etudes and other materials which are composed for tar are written with the C-clef which is drawn on the second line of the staff and which is also called mezzo-soprano clef. Although

this key system which was determined in 1920’s by the great Azerbaijani composer Uzeyir Hacıbeyli is quite proper for tar and suffices needs, but over time, different ideas appeared and demands and attempts to change the system were made. This work was prepared with the aim to handle and study the existing key system used in tar education and different approaches to the subject comparatively.

Sorry for the late reply, this thing only just brought me here and I can't hold my tongue! Generally, 'good/effective' protest music is composed when a social issue has elevated such that a consensus for concern is enough to appeal to a popular-classical-underground audience. So, regarding national morals protest music is quite a common occurrence when there is a a hot issue at hand. More specifically, national holidays often celebrate a 'great' triumph or defeat of some kind. Unfortunately I cannot think of a source on this topic in general that I would recommend other than a quick search that anyone is equitably capable of as I. Thus I suggest you take a specific example of national holiday music as they are all quite different in historical and sociological terms... Hope I could help!

Just some thoughts in case anyone else is still thinking about this.. it would be great to hear from anyone else who has observed negative wellbeing effects from music engagement.

I haven't seen much published data but I have heard of music therapy protocols that had to be abandoned early because it was quite clear that the participants were experiencing increased distress from the specific music. The music was created by a certified music therapist, but unfortunately was too direct in terms of the way it attempted to deal with the clinical issue and inadvertently made people feel worse. It was an unforeseen adverse effect, but unfortunately the appetite for reporting on this seems to be quite low.

I have also come across instances where music can trigger negative sensations for people with spinal cord injuries or damaged nerves. They can become physiologically over-sensitised to music and other sounds to the degree that it actually triggers painful sensations. Given that this is a physiological response it would occur regardless of whether the music was delivered by musicians or a music therapist. Typically individuals seem quite aware of the phenomenon themselves and often quickly decline from music intervention studies. This seems to be relatively rare, I have only seen it in clinical contexts, but have not seen systematic clinical evaluations on this. Nonetheless for this reason I always do safety checks now when I'm recruiting for music intervention studies and recommend that people discontinue listening if they feel any increases in discomfort.

I've also collected some data that indicates that people with musical anhedonia (people who do not experience pleasure as a result of music listening) do not appear to benefit to the same degree from music interventions as people who enjoy music. This would undermine the therapeutic benefits of music interventions, and should be considered and potentially controlled for in future research.

The Grove Dictioary and Wiki are likely to provide you with further links to experts. And try this file:///C:/Users/Stella%20Dell%20XPS/AppData/Local/Temp/THESIS_MASTER_OF_MUSIC_SHIELDS_Philip_William_2019.pdf

Good luck.

Diana Ambache

Nice Contribution Katherynn Hamilton

I completely agree with the answers from Tim Ziemer and Xenia Kontogianni . We did a similar investigation on the STI in a virtual room. Check out the poster and let me know if you have any questions.

Movies are fiction, but there is a comical scene early in the Amadeus movie where Mozart plays a ditty on the piano while held upside down by a friend.

Moreover the question of "what is music," asks for both an answer from scientism (that only science has answers to questions of knowledge and even meaning about, in our case, the true, the good, and the beautiful); and an appeal to essentialism that takes for granted that there is an "essential" irrevocable and core--insuperable--meaning to the word "music.".  These and important and related questions are best not discussed on this site.  Write an article or an email to discussants, because the question of "what is music" is philosophically problematic and takes a lot of words--actually endlessly so--to discuss..(tom regelski@ helsinki.fi)  but as a starter, this.

Music is not like an apple that. agreed upon what it "is" can be investigated (as opposed to oranges).  And apples can be studied from many points of view: as a biological organism  (plant) , as a food, as a social entity (what apples mean,  how used), as any number of 'things'.  And so, too, with music.  To ask what music is, to investigate it  scientifically, is similarly to ask what an apple is, as regards its role in life, nutrition,  recreation (apple bobbing contests), a cooking delicacy (pie), and intoxicant (alcoholic  cider), an industry, even a symbol (e.g., states that identify with their apple industry) , and .romance ( "you're the apple of my eye") etc. (was it ever true that students brought apples to their teachers?)) 

Asking what music is, as a scientific, ontological problematic is as misguided as asking what love is,  As suggested in entries above,  the question to be answered is not what people call "music" is but what it is that is called "music" does for those whose "appreciation" is best seen in how they  use  in fulfilling a rich live..

Too much "study" of music is lite a an autopsy, no longer of a living praxis, but as a  remnant  of something previously alive.  (If you're a musician, consider the often deadheading effects of your music theory and history classes),  Paradoxically, such is anesthetic., as result of its  "scientific" study in orthodox musicology and music theory, Strangely, this or that "work" as identified in advance by aesthetic theory as "good music" (as a great work worthy of analysis) is subject to positivist criteria as though a cadaver. Nothing is more deadening of musical values  than musicology and theory conducted on such premises..  And as concerns social aspects of music, at the same time that "absolute music" in the 19th century and since is sacralized--i.e., asart religion--, religious music is  heard in the concert hall as "art music " and secularized.  

So the question of what music IS  as a focus of scientific study  is not well considered.  As I offered several entries ago, the important question to be researched is what music DOES, why,  and how,! The answer must be that music is a social praxis, and like language, makes its contributions to life according to what it is "good for."  A pragmatic criterion.  And it is good for so many socially important things--so don't agree so easily about the difference  between  "highbrow" art music and :'lowbrow" musics .  I'd argue that both are important in the fabric of society and that . therefore,, both are needed and important to the meanings of life occasioned by music, in its situatedness--where it serves the needs well that bring a music into being to begin with.  (That is no doubt how music arose in the first place). That is "good music," for just listening, dancing, singing, celebrating, mourning, and all forms of praxis.

Praxis, for Aristotle is "virtuous doing" on behalf of others, guided by an ethic of accountability.  Techne, instead, is "excellent making" that attests to the need for craftsmanship and even artistry.  But, for praxis, artistry (virtuosity in any realm of life) is calculated by the needs  in question.  The praxis of students as amateurs can be guided by the poiesis (excellent making) of professionals,' but amateurs (amat=love) have different ''goods" in mind as fulfilling. 

The the question raised is ill-considered.  To study music is to study what people call music, and what role it contributes to their lives and how and why,: viz,what difference, in a pragmatic sense it contributes to the life worth living.  Don't try to "define" an apple  'look to its role in humans being human  Eat it (as John Cage's Zen wold recommend)., then you'll belong. as a starting point, at least.

Probably lated answer: about myths and folktales, my own work (https://www.researchgate.net/profile/Julien_DHuy and https://unive-paris1.academia.edu/JuliendHuy/Phylogenetics-of-Myths-and-Folktales) since 2012, and many others: https://afriques.revues.org/1717, https://www.jstage.jst.go.jp/article/jcss/8/4/8_4_335/_pdf...

Maximiliano,

''Why the humans created the music?''  WE did'nt, only add some more. Many animal species have created musics much before our primate ancestors.  Why did biological evolution created it?  It makes senses that some early animals had to detect other moving animals through the sound they emit while moving and walking.  These type of sound contains a lot of rythms associated with moving animal bodies. The purpose of the detection is also to infer the type of movement, the type of animal doing it, the position and direction of trajectory, etc.  HOw this could be best achieved?  Through interpretation of the sound vibrations in the ears through the motor systems equipped for enacting such movement in the animal.  So I assume that the origin of music is this interpretation of sound through the self-enaction of the motor system.  At some point in evolution it became possible for some species to go futher and to actually produce sound using the motor system in ways that were pleasing for the animals and could be used for many social functions such as mate selection through musical selection or coordination of motions into a kind of swimming dance as for sea mammals, etc, etc.  

Music is a universal cultural elements of homo sapiens and music has many common elements with human languages.  Babies responded first to the musical part of the language sound and it is likely that humans became humans through a form of collective singing dancing. There are many empirical evidences for this hypothesis.  

New neologisms to me,But they imply new approaches to theories of  philosophy and sociology of music.  What is "new" in your coining of these terms?  My recent contribution to both fields is: A brief introduction to the philosophy of music and music education as social praxis (Routledge 2016).  Maybe the "new point of view" is hinted at in that book.  LIving in Helsinki, I hope we might meet to discuss this--after you have read my book and find interest in my theory, not negativity.

I am observing speaker consumption from last two years in Chennai & suburban region (South India), There are hundred of labours involved in this seasonal work & They are assembling customised speaker in the rural region.

Urban population buys through online.

I would like to add that the composers of "Música Viva" Mouvement associated 12 tone technique with Brazilian elements in many works composed around 1950  like "Negrinho do Pastoreio" (by Catunda) and "Quartet n. 1" (by Guerra Peixe) and Música para Cordas (Claudio Santoro). .

I have some info about influence of Sufism on music.

Chris Jennings is a left handed player who plays a bass custom made by Tom Martin. It might be worth contacting Tom if you ahven't already doen so. http://www.thomasmartin.co.uk/double-bass-home/double-bass-testimonials

HELO,

YOU CAN LOOK UP SIBTHROPE BECKETT. HE DID A LOT OF THE FOUNDATIONAL WORK IN MUSIC IN JAMAICA founding several orchestral and  operatic groups. The Jamaica Journal did a feature on him. There was also an opera written by a Jamaican in the 30's I believe. You can also look up the work of Dr Olive Lewin. 

BECKETT, Sibthorpe Leopold, O.D., J.P.; Retired Civil Servant, Musician. Founder, Permanent Resident Conductor, Director of Music, Jamaica Philharmonic Symphony Orchestra since 1940; Founder and Director of Music “Y” Choral Group since 1943; 

Shepherd? Ask the Scottish Music Centre first. They're at City Halls, Glasgow.  Or try the Performing Rights Society, but I'd check with local connections first.

Arne? UK music libraries have the Encore website, for orchestral and choral sets in libraries.  Sometimes you can arrange a direct loan with the library holding a particular set, but other times you need to go to your local public library (or the university where you study), request an inter library loan, and let them handle the transaction for you.  http://www.iaml.info/iaml-uk-irl/projects/encore.html

You could also try to put your question into the context of media archeology, starting with Foucault's Archeology of Knowldege this would mean to consider music as a special discourse or a  number of discourses and as a media. This way music, its form and function also has to be seen within the context of other media. In the end history is not about dead things, it's just another (and helpful) way to see the present.

Es wäre ein Versuch wert, Kontakt mit der Geschäftsleitung von "Amazon"/Deutschland aufzunehmen. Bestimmt liegen dort statistische Daten über verkaufte Geräte, Artikel, Music Downloads usw vor?! Viel Glück!

Thank you very much, Julian.

All the best,

Anne

I cannot answer your technical question about the bassoon, but insofar as Arne's music becoming more popular, I think that was consequent upon a tiredness of Italian music and the related theatrical changes e.g. as portrayed in Hogarth's The Enraged Musician. I recently added a new analysis of that print to my website at http://tobiassmollett.blogspot.co.nz/2015/01/william-hogarth-and-enraged-musician.html which discusses Arne and the London theatre, and it may be of interest?

Most useful; can to same conclusions mysefl thinking hard and logically....many, many thanks...I went to Vienna and found amazing things....

I know very little about the details of Spain under Franco other than I have read of the civil war in the literature of Laurier lee and George Orwell, however I feel if you take 'traditional music' to be the folk music of countries or regions the use of song as a way of carrying news and ideas has a very long history in human communication. 

In this I don't think you could determine any particular bias toward the political left or right, I'm sure both the incumbent regime and its opponents used traditional music within their communities as a device for both social interaction and ideological propaganda.

whether one variant of traditional Spanish music was particularly usurped by the Franco supporters you will know better than me. 

Yes, of course I can help you. Doctoral dissertation:

- Naomi Joy Barker, "Analytical Issues in the Toccatas of Girolamo Frescobaldi", Ph.D. in Musicology, Royal Holloway College, University of London, 1995;

- Elena Burundukovskaya, "Organno-klavirnye sotchineniya Jirolamo Frescobaldi i voprosy ich ispolneniya na organe" [Girolamo Frescobaldi's Keyboard Works and the Questions of Their Performance on the Organ], Ph.D. in Music, Moscow Academy of Music, 1993;

- Étienne Darbellay, "Primo et secondo libro di toccate de Girolamo Frescobaldi, édition critique. En marge des deux livres de toccate de Girolamo Frescobaldi, étude de style", Ph.D. in Musicology, Fribourg, 1971;

- Michael J. Eisenberg, "Keyboard Secunda Pratica in Transmission: The Copper-Engraved Toccata Publications of Girolamo Frescobaldi", Ph.D. in Musicology, City University of New York, in progress.

That is very true. I find it very hard to convince my kids that just sharing their music is wrong. It has become such an accepted part of their social life particularly 'online'. They are confused that I insist on buying tracks from the artists I admire. And yes I totally agree that many of the problems of the industry are self made. And yes encryption will not be a viable option for quite some time, if ever! However if we want new music it has to be funded on a professional basis somehow. Will we have to return to a form of patronage?

Music is present in all cultures since prehistoric times, but still it is not clear what the source of gratification that we feel listening. Two newly published studies now contribute to shed light on the brain mechanisms involved in the joy of music.

As you can read in "Science", Valorie N. Salimpoor and colleagues at the Montreal Neurological Institute of McGill University have analyzed the neural processes of volunteers who listened to the first few songs. To give way to the experimenters to assess the degree of pleasure evoked by the music, the subjects participated in a kind of auction in which they could make an offer to listen to a particular song.

"Viewing the activity of a particular brain area, the nucleus accumbens, which is involved in reward, it was possible to reliably predict whether subjects would have offered money to listen to a song," says Salimpoor. The involvement of the nucleus accumbens confirms recent indications of the fact that the emotional effect of music would activate mechanisms of expectation and anticipation of a stimulus desirable, mediated by the neurotransmitter dopamine when it comes to a song already familiar, the mechanism of leave would be evoked mental anticipation of the passages most enjoyable. In the search for Salimpoor colleagues, however, the music was not known, but functional magnetic resonance imaging showed that the activated areas and dopaminergic mediation were the same as those of well-known songs. The cause, according to the researchers, is an "implicit knowledge" of music, obtained over the years and internalize the structure of the music characteristic of a certain culture.

The activity of the nucleus accumbens, also, is not isolated, but also involves the auditory cortex, which stores information on the sounds and the music during the test, as the piece was rewarding, the more intense was the cross-communication between the different brain regions. This result supports the idea that the ability to appreciate music refers not only to the emotional aspects, but also on assessments of cognitive character.

Still on the subject of brain reactions to music, Vinod Menon and colleagues at Stanford University School of Medicine, authors of an article published in the "European Journal of Neuroscience," have shown that listening to classical music evokes a unique pattern of activation of areas of the brain in spite of the differences between people.

The team recorded the activation of different brain regions of volunteers who listened to the music of William Boyce, an English composer of the eighteenth century, or pieces of "pseudo-music", ie sequences of auditory stimuli obtained by altering the songs Boyce with appropriate algorithms by the computer. The reaserchers identified a distributed network of brain structures whose activity levels followed a similar pattern in all subjects while listening to music, but not in that of the pseudo-music.

"In our study we have shown for the first time that, despite individual differences, classical music evokes in subjects other than one very consistent pattern of activity in various structures of the frontoparietal cortex, including those involved in the planning of movement, memory and attention, "says Menon. These regions, in particular, participated each with its own activation rate to the development of what was being heard, helping to make sense, with its own specific contribution to the overall structure of the music.

Particularly curious is the preferential activation of the centers of motor planning in response to the music but not the pseudo-music: according to the authors, it is a "neural correlate" of the spontaneous tendency to accompany listening to music with body movements, as in the dance, or simply clapping his hands.

I red with particular interest these two papers which well summarize the mucic/brain interaction. And let me understand what is happening when I am listening to a favourite music. I do not know whether similar mechanisms are activated when I enjoy to  write, play and sing my songs. Many of you know that this is one of my hobbies.

Yes, for now only european music, but very interesting is mathematical model for tonal harmony and jazz, i have this somewhere on my computer. If someone likes mathematic very big equation it is very nice:)

The primary classical "military" combination was trumpets and drums (both snare and bass). That's why D major was the tonality of military marches, because trumpets were most often made in D. The three small bells of the Janitshcarenmusik pedal on pianos c.1810 were always (more or less) in D. The French also had military oboe (and bassoon for the low voice) bands. The eye-witness account of the siege of Barcelona (1714), for example, mentions how the French soldiers constructing the trenches during the night were encouraged in their work by the oboe band, bales of hay being lain down to dampen the sound in order to keep the Catalans from aiming their guns by the sound. The Ottoman version of the military oboe was the zurna, which is incredibly loud and piercing, well-suited for the purpose of striking fear in the enemies' hearts.

Be careful , we must well choose words and must be more than a psychologist, it is very sensitive, it takes wisdom and true and deep love ...

They must feel that we reaching out , but this hand is low and they are higher and have value ....

Dear Nelson,

I what to offer to your attention the Russian Musical Film "Anton Ivanovich angry" (was created in 1941) http://www.youtube.com/watch?v=vVgYJQ-OXXQ .

"Conservatory professor gives his daughter classical musical education expecting that she will continue the family traditions. However, Simochka is fascinated by the “light” music. She makes a brilliant debut in an operetta and finds her vocation in this genre."

"Old Conservatory professor Anton Ivanovich Voronov, . recognized only major classical music, . was forced to change their attitude to the "light genre" after, . I saw a brilliant performance in the operetta of his daughter Simochka."

"Anton Ivanovich played only Bach, but his daughter is studying at the conservatory. After her walks a young composer (Kadochnikov), writing an operetta, which Anton Ivanovich for the music did not think - because of this he became so angry that even quarreled with one another.It took the intervention of the great Johann Sebastian and daughter debut (Tselikovskaya) to severe orthodox melted and approved light music and ... love. Wonderful, charming musical comedy, and time is on her favor, as good wine. A lot of hilarious vignettes, and almost caricatured characters.Film studios restored to them. Gorky in 1988, Vladimir Berenstein. Lyrics Vsevolod Rozhdestvensky. (M.Smith) "

In my opinion, this film is the best Youtube on your topic. Please, just see this film and you will get huge pleasure. This film contains humor and classical music.

Magic!

I have written and performed a small amount of slam poetry. One of them is about writing slam poetry. A few lines are:

On the page my poems slumber, unmoved and unmoving, only truly awoken when spoken. When held in the mouth of someone who cares how they gallop or canter or trot across space to dance on the drum of your ear. The vibration of speech makes the air that we breathe, truly seethe with significance, or not.

Good vibrations are needed to make the words sing, to hear is to feel. To see is not real for my poems.

Hope it is interesting to you. I've appended the full poem in case you have a mild interest. It is obviously written for speaking not reading.

That is an excellent answer, Peter! I am reminded of "trobar clus" in Provencal poetry, concealing the name of the beloved to preserve her honor (while quasi-deifying her). Much enigmatic literature cultivates mystery to avoid social opprobrium. As to the expression of mystic union through incestuous love, compare the "Song of Solomon," 5,17: "I come to my garden, my sister, my bride." This biblical book has often been repeatedly interpreted by mystics in the Middle Ages and Renaissance as a secret code for the union between God and His Church, when not between the Holy Spirit and the human soul. Somehow the sense of mystery endows the sibling relationship with sacredness.

Jacobo, la mejor fuente del epitafio de Seikilos se encuentra en E. Pôhlmann y M. L. West, Documentos de la música de la Grecia antigua: las melodías y fragmentos que han perdurado. Oxford: Clarendon Press 2001 (reimpr. 2009).