The birth of the blues: how physics underlies music
Identifieur interne : 000219 ( Main/Exploration ); précédent : 000218; suivant : 000220The birth of the blues: how physics underlies music
Auteurs : J M Gibson [États-Unis]Source :
- Reports on Progress in Physics [ 0034-4885 ] ; 2009.
English descriptors
- Teeft :
- Adjacent notes, African music, African slaves, Alfred publishing, Artifact, Axiom, Baroque music, Baroque period, Barrelhouse blues, Black notes, Blue note, Blue notes, Blues scale, Change keys, Chord, Consecutive notes, Decay time, Diatonic, Diatonic scale, Different keys, Dim7, Equal temperament, Equal temperament scale, Equal temperament system, Fourier, Fourier analysis, Frequency ratio, Fths, Fundamental frequencies, Fundamental frequency, Gibson figure, Gure, Harmonic, Harmonic analysis, Harmonic intervals, Harmonic sequence, Harmonics, Highest notes, Integer harmonics, Integer multiples, Integer ratios, Interval, Jimi hendrix, Kleine nachtmusik, Least complexity, Major chord, Major chords, Major diatonic scale, Major scale, Major triad, Many artifacts, Melodic development, Minor chord, Minor keys, Modern physics, Moonlight sonata, More notes, Multimedia content, Musical acoustics, Musical instruments, Musical particle, Musical references, Musical rules, Musical scale, Musical scales, Next note, Note scale, Octave, Opening bars, Organ pipe, Other hand, Overtone, Pentatonic, Pentatonic music, Pentatonic scale, Phys, Physical principles, Piano keyboard, Popular music, Prog, Pythagoras, Pythagorean, Pythagorean comma, Pythagorean scale, Quantum mechanics, Relative frequency, Remote keys, Same time, Semitone, Several conclusions, Simple example, Simple mathematics, Simplest chord, Smallest interval, String tension, Teaching physics, Temperament, Temperament scale, Treble clef, Triad, Tuner, Western music, White notes.
Abstract
Art and science have intimate connections, although these are often underappreciated. Western music provides compelling examples. The sensation of harmony and related melodic development are rooted in physical principles that can be understood with simple mathematics. The focus of this review is not the better known acoustics of instruments, but the structure of music itself. The physical basis of the evolution of Western music in the last half millennium is discussed, culminating with the development of the blues. The paper refers to a number of works which expand the connections, and introduces material specific to the development of the blues. Several conclusions are made: (1) that music is axiomatic like mathematics and that to appreciate music fully listeners must learn the axioms; (2) that this learning does not require specific conscious study but relies on a linkage between the creative and quantitative brain and (3) that a key element of the musical blues comes from recreating missing notes on the modern equal temperament scale. The latter is an example of art built on artifacts. Finally, brief reference is made to the value of music as a tool for teaching physics, mathematics and engineering to non-scientists.
Url:
DOI: 10.1088/0034-4885/72/7/076001
Affiliations:
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Phys.</title><idno type="ISSN">0034-4885</idno><idno type="eISSN">1361-6633</idno><imprint><publisher>IOP Publishing</publisher><date type="published" when="2009">2009</date><biblScope unit="volume">72</biblScope><biblScope unit="issue">7</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="17">17</biblScope><biblScope unit="production">Printed in the UK</biblScope></imprint><idno type="ISSN">0034-4885</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0034-4885</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Adjacent notes</term><term>African music</term><term>African slaves</term><term>Alfred publishing</term><term>Artifact</term><term>Axiom</term><term>Baroque music</term><term>Baroque period</term><term>Barrelhouse blues</term><term>Black notes</term><term>Blue note</term><term>Blue notes</term><term>Blues scale</term><term>Change keys</term><term>Chord</term><term>Consecutive notes</term><term>Decay time</term><term>Diatonic</term><term>Diatonic scale</term><term>Different keys</term><term>Dim7</term><term>Equal temperament</term><term>Equal temperament scale</term><term>Equal temperament system</term><term>Fourier</term><term>Fourier analysis</term><term>Frequency ratio</term><term>Fths</term><term>Fundamental frequencies</term><term>Fundamental frequency</term><term>Gibson figure</term><term>Gure</term><term>Harmonic</term><term>Harmonic analysis</term><term>Harmonic intervals</term><term>Harmonic sequence</term><term>Harmonics</term><term>Highest notes</term><term>Integer harmonics</term><term>Integer multiples</term><term>Integer ratios</term><term>Interval</term><term>Jimi hendrix</term><term>Kleine nachtmusik</term><term>Least complexity</term><term>Major chord</term><term>Major chords</term><term>Major diatonic scale</term><term>Major scale</term><term>Major triad</term><term>Many artifacts</term><term>Melodic development</term><term>Minor chord</term><term>Minor keys</term><term>Modern physics</term><term>Moonlight sonata</term><term>More notes</term><term>Multimedia content</term><term>Musical acoustics</term><term>Musical instruments</term><term>Musical particle</term><term>Musical references</term><term>Musical rules</term><term>Musical scale</term><term>Musical scales</term><term>Next note</term><term>Note scale</term><term>Octave</term><term>Opening bars</term><term>Organ pipe</term><term>Other hand</term><term>Overtone</term><term>Pentatonic</term><term>Pentatonic music</term><term>Pentatonic scale</term><term>Phys</term><term>Physical principles</term><term>Piano keyboard</term><term>Popular music</term><term>Prog</term><term>Pythagoras</term><term>Pythagorean</term><term>Pythagorean comma</term><term>Pythagorean scale</term><term>Quantum mechanics</term><term>Relative frequency</term><term>Remote keys</term><term>Same time</term><term>Semitone</term><term>Several conclusions</term><term>Simple example</term><term>Simple mathematics</term><term>Simplest chord</term><term>Smallest interval</term><term>String tension</term><term>Teaching physics</term><term>Temperament</term><term>Temperament scale</term><term>Treble clef</term><term>Triad</term><term>Tuner</term><term>Western music</term><term>White notes</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Art and science have intimate connections, although these are often underappreciated. Western music provides compelling examples. The sensation of harmony and related melodic development are rooted in physical principles that can be understood with simple mathematics. The focus of this review is not the better known acoustics of instruments, but the structure of music itself. The physical basis of the evolution of Western music in the last half millennium is discussed, culminating with the development of the blues. The paper refers to a number of works which expand the connections, and introduces material specific to the development of the blues. Several conclusions are made: (1) that music is axiomatic like mathematics and that to appreciate music fully listeners must learn the axioms; (2) that this learning does not require specific conscious study but relies on a linkage between the creative and quantitative brain and (3) that a key element of the musical blues comes from recreating missing notes on the modern equal temperament scale. The latter is an example of art built on artifacts. Finally, brief reference is made to the value of music as a tool for teaching physics, mathematics and engineering to non-scientists.</div></front></TEI><affiliations><list><country><li>États-Unis</li></country></list><tree><country name="États-Unis"><noRegion><name sortKey="Gibson, J M" sort="Gibson, J M" uniqKey="Gibson J" first="J M" last="Gibson">J M Gibson</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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