[3] October 3 — Modern musical form is (not) constrained by nature
Section outline
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Assigned reading:Hermann von Helmholtz, "General view of the different principles of musical style in the development of music" and "Esthetical relations," from On the Sensations of Tone as a Physiological Basis for the Theory of Music , 4th ed. (1877/1885 [1863]), 234–237, 246–249, 362–371. [online] [German] [Russian]
Hugo Riemann, "Ideas for a study 'On the imagination of tone'," part I (1914–1915), J. Music Theory 36 (1992): read pages 81–91 only.
Go to the music module, "What is permitted? The nature of music".
Further reading:
Benjamin Steege, Helmholtz and the Modern Listener (2012). [781.1 STE]
Myles Jackson, "From scientific instruments to musical instruments: The tuning fork, the metronome, and the siren," The Oxford Handbook of Sound Studies (2012), 201-223.
Hui, The Psychophysical Ear, 55-87.
Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (2003). (on campus access)
P. P. Lazarev, "Muzykal'nyi konsonans i dissonans v svete sovremennoi nauki," Sovetskoe iskusstvo no. 7 (1926): 43-49.
[click on image for source]