By Guerino Mazzola

This publication explains music’s complete ontology, its manner of life and processing, as laid out in its compact characterization: song embodies significant conversation and mediates bodily among its emotional and psychological layers. The booklet unfolds in a uncomplicated discourse in daily language that's obtainable to all people who desires to comprehend what this subject is ready. Musical ontology is not on time in its basic dimensions: its realities, its significant verbal exchange, and its embodied utterance from musical creators to an viewers.

The authors' strategy is appropriate to each musical style and is clinical, the publication is appropriate for non-musicians and non-scientists alike.

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Additional resources for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment

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Oval window, 9. ) round window, osseous labyrinth, containing 11. semicircular canals, 12. cochlea; 13. Eustachian tube (in a plane anterior with respect to the section); 14. temporal bone. Drawing by Maria Mannone. A sound wave’s journey into the ear begins with the pinna, the cartilaginous formation responsible for filtering incoming sound. From there it enters the concha, the opening that leads to the ear canal. The ear canal is a short tube in the outer ear, and is the last part of the ear in which sound is transmitted through the air.

G. alertness) of that emotion will be more clearly felt, for there is little contamination by other emotions because of low concentrations. However, when concentrations of different neurotransmitters are relatively similar, we may feel more complex feelings. For example, high levels of epinephrine paired with high levels of serotonin may result in euphoric energy, such as when you engage in an activity that you enjoy. In contrast, low levels of epinephrine paired with high levels of serotonin may result in a feeling of tranquility or contentedness, as experienced when one can finally relax and read a book at the end of a stressful day.

The rules of counterpoint then describe which intervals can succeed which intervals. The forbidden dissonant intervals are: 1, 2, 5, 6, 10, 11 (minor and major second, fourth, tritone, minor and major seventh). 12 show the list of all intervals from pitch C. , stepping up by half tone steps. Looking at intervals from the musically important “leading tone” B in C-major tonality2 , this symmetry is realized by the symmetry formula d = 5×c+2. 14. For example, pitch D corresponds 2 See our discussion of the concept of tonality in Chapter 8.

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