Harmony

As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's and Schoenberg's peculiar clashes, such as in their starkly opposed attitudes toward tonality, are the result of a mere difference in emphasis—attributable to temperament—on the absoluteness of the tone as an idea of nature versus the contingency of the artist's response to the tone in the formation of music, a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories and limited our perception of commonality between their theories.

The paper proposes a survey through the essential theoretical contribution of J.P. Rameau, beginning with the famous "Traité de l'Harmonie", and enlarged with several other books devoted to the harmonic theoretical thinking, in which he evolves according to the scientific discoveries of the century.

This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.

Ordering 3D configurations of curves of increasing complexity
Configurations of curves in 3D of increasing complexity
Configurations in 3D:
-- single continuous curves (Group I)
-- interlocking disjoint curves (Group II)
-- animations offering a 3D perspective (Group III)
-- fractional rotation of continuous curves with indication of increased spread (Group IV)
-- animation of curves with indication of increased spread (Group V)
-- animations of toroidal curves with indication of increased spread (Group VI)
Interpretation of knot language?
Psychosocial implications of configurations of curves?
Static description of cycles versus the dynamics of Cyclic experience
Implicit coherence speculatively explored?
Relative interestingness and boringness of forms of coherence
Sustainable dynamics "re-cognized" as knots?
Articulation and complexification of cycles of sustainability
Musical comprehension of unity versus diversity using four geometric parameters?
Imagined potential of circular forms as a pattern language

The paper begins with the assumption that in order to explain the efficacy of harmony as an organizing force in human and natural affairs we must pay attention to the dynamic features characteristic of the growth and maintenance of harmonious forms. Two dynamic features are highlighted for their especial significance: revitalization, and self-surpassing. It is then argued that the two are substantively connected through the agency of creativity which, when given free reign, tends to preserve and fortify harmony by surpassing existing harmonious configurations. It follows that the impetus towards self-transcendence is a vital aspect of the growth, the sustenance, and the flourishing of harmony. I then argue that this urge towards self-transcendence can be broadly identified with Plato's notion of Eros. Nevertheless, I also argue that this affinity does not commit us to a rigid Platonic scheme of the sort criticized by Chenyang Li (2014) as harmony by conformity.

How does rock harmony differ from that of the common practice? As several recent writings have shown, motions between individual chords-that is, functional behaviors-are often vastly different from that of the common practice. 1 Precisely how these and other harmonic differences coalesce to form surface-level progressions that depart from common-practice conventions, however, is a question that has been approached only peripherally. 2 With an emphasis on the classic-rock canon of the late 1960s through the 1980s, this article therefore investigates rock harmony from the larger perspective of the progression in an attempt to paint a more detailed picture of rock's idiosyncratic harmonic syntax. In particular, classifying triads as Tonic, Dominant, or Subdominant based largely on the similarity of their scale-degree content, or functional "kinship," reveals three central aspects of rock progressions. 3 First, they do not constrain the functional motion of their chords. In other words, unlike the TSDT paradigm of the common practice, the kinship functions of Subdominant and Dominant both move regularly to each other and to Tonic-functioned harmonies. Thus, there is no single kinship-functional paradigm that encompasses most rock progressions; rather, two paradigms appear more than any other: the authentic and plagal (described in more detail further below). Second, rock progressions that diverge from the common practice, which feature in the vast majority of songs, do so in two ways: by the ordering of the kinship functions into a form of the plagal paradigm, and/or by secondary triads that are unusual by common-practice norms, namely subtonic and mediant triads. Third, even when there appear secondary triads that are more typical by common-practice norms, namely submediant and supertonic triads, their behavior is often in opposition to those norms. This article will examine these elements of rock harmony in two parts. The first and larger part will establish a number of definitions necessary to parse progressions by their functional kinship. These include harmonic function, tonic perception, scale-degree assemblies, progressions, and types of progressions. The second part of the article will apply these definitions to a wide range of specific examples and generalizations in order to demonstrate how progressions in rock differ from those of the common practice. 1 See Nobile 2016, Quinn and White 2015, Doll 2007, and Stephenson 2002 (ch. 5). 2 Moore 2012 (71-79) views rock progressions as strongly modal, offering a flexible system for their analysis. Moore 1992 has also catalogued an extensive list of rock progressions by prominent root motions. Everett 2009 (214-301) offers a similarly-organized, comprehensive examination of rock progressions but, to categories based on root motions, he adds others based on contrapuntal motions, minor keys, modes, and chromaticism rather than by their distance from common-practice norms. De Clercq and Temperley 2011 provide a glimpse into some of rock's common "trigrams," which are three-chord successions that may occur across any perceptual boundaries rather than progressions that have a discernible beginning and end. And Biamonte 2010 is devoted to three rock-specific categories of harmonic progression: the double-plagal progression, the Aeolian progression, and modal scales thickened by harmonization in parallel triads. See also Biamonte 2012 for an extension of some of these ideas. 3 Following Harrison 1994, I capitalize the names of kinship functions (Tonic, Dominant, Subdominant) in order to distinguish them from specific triads with the same names, which remain uncapitalized.

This paper explores Karoline von Günderrode’s metaphysics and argues that the place Günderrode assigns human beings in her cosmology requires a reconceptualisation of the relationship between human beings and the nonhuman world and the development of communities that include the nonhuman. First, analysis of Günderrode's pieces “Idea of the Earth” and “Letters of Two Friends” shows that she presents human beings as embedded in, and the same in kind as, the nonhuman. Part two uses the philosophical dialogue “Story of a Brahmin” to argue that, consistently with this metaphysical picture, Günderrode denies that human beings are justified in adopting a dominating relationship to nature or the nonhuman (or each other). The third part of the paper explores Günderrode’s claim that human beings live in three ways—as animal, as human, and spiritually—and considers how these relate to Günderrode’s concept of earth. Finally, the paper explores how Günderrode’s account translates into concrete ideas about community. I argue that Günderrode’s normative restraint, ideal of harmony, and view of human beings as part of and the same in kind as the rest of nature contribute to a vision of community in which genuine connections can flourish between human beings at the same time as connections to what is beyond the human. Rather than providing a program for ideal social relations or attitudes towards the natural world, Günderrode describes conditions for the emergence of small communities of friends in harmony with nature. On Günderrode’s model, these could potentially grow and eventually, perhaps, enable the emergence of the single, perfect organism she calls the “realised idea of the earth.”

It has long been known to creative people that the unconscious mind plays a crucial role in all creative thought. While creativity in art, music and dance can often function with very little help from verbal left-brain processes, most creative work requires balanced, healthy cooperation between intuition and logical thought. This paper will examine why in most intellectual fields, the most wonderful, creative breakthroughs are the result of intuition. Intuition manifests itself in the evaluation of similarity when decision borders are too complex to be reduced to logical rules. It is also reflected in heuristic reasoning based on partial observations, where network activity selects only those paths that may lead to the right solution, excluding all bad moves (Duch, 2007: 1). The research question is important, equally as are advanced, scientific studies on intuition, because intuition leads to innovation. Intuition is the muse, the spark, the beginning without which many modern, scientific inventions would not be possible. Could intuition shed some light on the understanding of modern science explaining many of its unknowns? Or, are the two disciplines completely independent? Intuition originates in right-brain thinking, while logic is a product of the left brain. Intuition is useless, however, until it can be verified and described verbally and logically. Logic and language are at the basis of modern progress because they make it possible for one person to communicate her or his insights to another person. Knowledge is thus built upon knowledge, from the successive thinking of previous generations of reflective explorers, researchers and thinkers. In this essay, the author will elaborate on the phenomenon of intuition, hopefully leading to a more holistic understanding of the unconscious mind by bringing important elements involved in the process of intuition and science together. The great power of science is its ability through objective laws to reveal to us truth that we did not anticipate. In this role, it continues to be invaluable, and one of the greatest of human creations. Science often provides elucidation as we are bound to grope for a time as we grapple with problems unprecedented in human history. And wisdom is the child of experience which is a measure of truth. "In the years since man unlocked the power stored with the atom, the world has made progress, halting but effective, towards bringing that power under human control." (Kennedy, 1963: 22). The spirit of the times brings another challenge that must be overcome and that becomes humanity's salvation. In the Twenty-First Century, as humanity has learned to master the destructive potentialities of modern science civilisation moves toward a new era in which science can shed more light on the still unresolved novel, global challenges to fulfil its creative promise. But can science explain everything that could be only known at the intuitive level? Can Science shed some light onto some the miracles in the world? It is sometimes helpful to differentiate between the God of Miracles and the God of Order. When scientists use the word God, they usually mean the God of Order. The God of Miracles wonderfully intervenes in our affairs, performs magnificent miracles, destroys wicked cities, smites enemy armies, drowns the Pharaoh's troops (plus other wicked civilisations that do not follow sustainable strategies) and finally avenges the pure and noble (Kaku, 1995); as He is the only one who created the universe and it is at His command. All creation uses its power to punish unrighteous people or civilisations, but it becomes mild and kind to those who put their trust in God. This is not to say that miracles cannot happen, only that they are outside of the realm of explanation of what is commonly called science. Paradoxically, the world of science cannot explain some of the unknowns at the level of sub-consciousness, sense, supernatural or sacral. For example, in the word of God, light and darkness are contrasted several times as are those who follow each (Crawley, 1980: 562). It is contrast rather than comparison because there is no likeness of the two. One is opposed to the other, and one produces positive energy the other negative. One clear thing is that "the person who loves truth hates darkness. "Through thy precepts I get understanding: therefore I hate every false way" (Psalm 119:104); and the one who loves darkness hates light, "For everyone that doeth evil hateth the light..." (John 3:20). Jesus had somewhat to say about this throughout His earthly ministry. He made it very plain regarding those who loved the truth (or light), as well as those who loved error (or darkness) when He said, "And this is the condemnation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil (Crawley, 1980: 562). For everyone that doeth evil hateth the light, neither cometh to the light, lest his deeds should be reproved. But he that doeth truth cometh to the light, that his deeds may be made manifest, that they are wrought in God" (John 3:19-21). From this, we can plainly see why some love darkness and refuse to come to the light and why some love truth. The person who loves the truth above all else, and wants nothing else, cometh to the light, for he has nothing to fear. For even if he is wrong, he needs, and wants, to know it; whereas when he is right everyone needs to know it. Thus, he cometh to the light, and does so continually that he continue to be right (Crawley, 1980: 562). This paper argues that we can subconsciously choose light and good deeds at the same time becoming more skilled and grittier. Grit is the tenacious pursuit of a dominant superordinate goal despite setbacks. According to Duckworth and Gross (2014: 2), "Research on grit is still in its infancy, and much remains to be discovered about its underlying psychological mechanisms." These researchers have shown that "Highly effortful, focused practice is a necessary means to improving in skill" and shedding more light on important psychological concepts such as increased perseverance, passion and determination. Studies confirm that grittier competitors accumulate more hours of deliberate practice over the course of years, which in turn fully mediates the effect of grit on final ranking (Duckworth, Kirby, Tsukayama, Berstein, & Ericsson, 2011). Related research has identified harmonious passion (i.e., autonomous internalisation of a passionate activity into one’s identity) as a predictor of deliberate practice and, in turn, performance (Vallerand et al., 2014). Many other studies of expert performers in diverse domains have found that thousands of hours of extremely effortful deliberate practice are prerequisite for achieving world-class levels of skill (Ericsson & Charness, 1994). If, as Woody Allen has suggested, showing up and being engaged is crucial to success in any endeavour (as quoted in Safire, 1989), and if highly effortful, focused practice is a necessary means to improving in skill, then it may be that grit predicts high achievement by inclining individuals to both show up and work very hard, continuously, toward a highly valued goal for years and even decades" simultaneously overcoming obstacles and excelling in their practice. To be gritty means wisely and holistically combing the whole body resources: subconsciousness and consciousness for the realisation of the chosen goal without burn out but constantly recharging and regenerating. This has much to do with the power of both self-control and volition. Therefore, subconscious could be working in balance with consciousness. Throughout all nature, we can find the law of action and reaction, of rest and motion so balance is an optimal state. When the two are in balance, then there will be harmony, equilibrium and extra energy flow. The novel solution that this paper introduces is that intuition allows seeing things differently by making a picture of reality in our minds ​while acting as a powerful catalyst, a powerhouse of our imagination while dissolving many complex puzzles and perplexing problems existing in contemporary science. It follows that both intuition and science could work in tandem.

The present research aimed the better understanding of the melodic thinking in contemporary music. Through descriptive and comparative analysis of the melodic structure of four important plays of the post-1945 repertoire, it was verified the hypothesis that they preserve the characteristics of previous periods, as well as present similarities among each other, which allows them to be stylistically related. The chosen works were: Madrigal I, of Henri Pousseur; In Freundschaft, of Karlheinz Stockhausen; Sequenza IXa, of Luciano Berio; and Dialogue de l´ombre double, of Pierre Boulez. They were chosen according to their relevance in the repertoire and because they were composed for solo monodic instrument, a formation which induces the musical speech to focus on melodic aspects. The analytical methods here presented are based mainly on models proposed by Schoenberg (1996), Toch (1994) and De la Motte (1993). The results of the analysis demonstrated that most of the melodic construction of the pieces mentioned above is formed by structures and procedures that were already present in the traditional modal or tonal repertoire. At the same time, the results highlighted enriching creative contributions by the composers in the use of these same procedures and structures.

The full text is available here
http://kata.petra.ac.id/index.php/ing/article/view/18851/18544

Many similar subjects can be traced in world literature; among them is nature since it belongs to man/nature binary opposition. The American poet and philosopher, Ralph Waldo Emerson (1803-1882) employs nature in his works. Throughout his works, the American writer discusses the affinity between man and nature, emphasizing how man takes advantage of it. The contemporary Iranian poet, Sohrab Sepehri (1928-1980), also makes intensive use of nature in his poems; his interest in the subject increases along with his tendency to Buddhism. Sepehri is proficient in using nature either in philosophical or emotional issues. Due to the significance of nature in the works or the two figures, an ecocritical reading of them is not only applicable but unavoidable. This comparative study aims at investigating different approaches towards nature employed by the two poets, emphasizing their points of difference. Although both poets employ nature in their works with romantic tendencies, the postmodern environmental ethics of Sepehri is in direct contrast to the instrumental value viewpoint held by his American counterpart.

Le concept de « planète » inclue une vision matérialiste du monde qui s’éloigne de la pensée cosmologique au sein de laquelle il est né. Selon la théorie pythagoricienne de l’harmonie des sphères, le monde (κόσμος, kósmos, chez les grecs) constitue l’ensemble des étants dont les planètes font partie, lesquelles suivent un ordre cosmique qui s’oppose au chaos. Elles sont ainsi des astres qui « errent » autour de la Terre, la Terre étant comprise comme le centre de l’univers, l’ensemble étant régi par des lois naturelles présidées par les Dieux, où la vie de l’Homme s’installe et dont la Cité fait partie. Dans notre communication, nous voulons montrer que si le concept de planète supplée aujourd’hui celui de « monde », c’est en raison d’une attitude scientiste témoignant d’une crise spirituelle profonde de la modernité, laquelle réduit la planète à un « fonds » (Bestand) et lui ôte son caractère d’ « arche » primordiale (Arche Erdboden). Alors, si la Terre constitue la troisième planète du système solaire (après Mercure et Vénus depuis le Soleil) et qu’elle est composée de matériaux physico-chimiques, elle est avant tout un « sol » primitif (Grundlage) sur lequel l’Homme a les pieds et à partir duquel il vit et perçoit le monde (Lebenswelt). Dans ce sens, penser la planète Terre, c’est d’abord comprendre son origine en tant que phénomène et percevoir les différentes valeurs d’une époque qui peuvent lui être appliquées, car elle constitue, en fait, un « milieu » (Umwelt) que l’être humain habite (bauen). Alors, c’est seulement à partir de là que la possibilité d’un (ré)enchantement du monde peut être envisagé.

В фундаментальных трудах И. Кеплера, относящихся к 1610–1619 гг., и Л. Эйлера – 1739 г. разработаны законы теории музыки, выступающие  в качестве “метода гармонии” для познания и обоснования новополагающих математических и физических (включая третий закон Кеплера) закономерностей.
    Выступая как “композитор-астроном”, Кеплер строит контрапункт планет. Введение Кеплером понятия формообразующей силы дает возможность на основе механизма “золотого” или, по Кеплеру, “божественного сечения” формулировать законы развития в природе, имеющие антиэнтропийный характер.
    “Метод гармонии” позволяет объяснить действие кеплеровской “формообразующей” силы, объясняет закономерности развития во времени физических процессов, до сих пор не нашедших должной формулировки при изложении курса физики.

Communal Peace and Harmony: Role of the Commentaries of Quran with Special Reference to Risala e Nur
Communal peace and harmony is a fundamental part of any secular democratic country of the world especially in India which secures, although it is distorted only for political advantages, its cultural diversity and democratic integrity.
This paper would be an attempt to analyse the solutions for retrieving communal peace and harmony in a democratic country like India which ails from demolition of co-existence between the majority and minority communities.
Quranic verses apparently elaborated many exemplary events of the past which insist on the importance of co-existence and communal harmony. Thus all these verses have undergone for different styles of commentaries from all over the world promoting these moral values.
Amidst these commentaries Risalae Nur of Bediuzzaman Said Nursi, who embarked on an endeavour to revive the Islamic spirit and to interpret the tenets of the Holy Quran in accordance with the demands of the day, differs for its particular perspectives introducing solutions for communal conflicts which takes place in a multi cultural country.
These solutions, while it is implemented thoroughly, are better methods to cope up with religious and cultural varieties of a secular country by fostering its ties closer because Bediuzzaman Said Nursi desired and tried his best for the successful implementation of these solutions at first in Turkey which believes hard in secular doctrines that will aid for the sustainable development of the nation.

The author considers the problem of beauty. He identifies beauty as an analogically understood property of reality, of human products (including art), and of the human mode of conduct, and as that which, in the tradition of Western culture, is expressed under the form of harmony, perfection, or splendor, which as beheld and for beholding arouses complacency or pleasure. The article discusses the following topics: classical theories of beauty, beauty in the metaphysical conception, beauty in aesthetics, the separation of beauty from reality, and the problem of ugliness.

The harmonic-functional system is based on a conception of harmony and the chords of the tonality derived from the notion of differential hierarchy, fifth relationships and functional affinity, whose consequence is the recognition of three basic functions – tonic, dominant and subdominant – and of three other secondary or derivative functions, each with two variants, which complete the rest of useful chords as secondary tonic within a given tonality.

A revision of the harmonic-functional system must begin with the very introduction of the concept of ‘function’ in musical theory and, more specifically, in musical analysis. Secondly, it is necessary to recall and discuss succinctly the same foundation of harmony, according to several authors (Rameau, Riemann, Schönberg), although focusing only on those aspects of its theoretical tradition that concern the origin of the chord, its position within the system, its typology and relationships between chords.

Finally, the paper develops a complete view of the harmonic-functional system which provides an overview of all types of chords that are studied in any academic harmony treatise, but grouped according to their function in harmonic discourse, that is, summarized under the cover of the three basic functions and their derived functions, in an organic unit that immediately gives each chord its role in speech and thus its harmonic function. In this section we will review the definition of basic functions and secondary functions, the numbering of chord sounds, movement of voices, cadential functions (dominant, dominant of the dominant and subdominant), tonicization and modulation, to end with extensions of the system that allow to use it even in the limits of the tonal system.

This is the book I have prepared and used for 20 years in the class of Musical Analysis I, as Professor of Musical Analysis and Composition in the Real Conservatorio Superior de Música de Madrid. This is a subject intended for students (players, conductors, composers, musicologists and pedagogues) in college or university level. It contains my own reflections in theory and analysis, as well as quotations from well-known scholars in the field of Theory of Music. It encompass a first theme devoted to the definition, place and types of analysis, followed by another theme with varied concepts as function, Fibonacci series, golden section and psychology of music. The third theme goes back to Gregorian modes and rhythmic modes, as well as the world of tones. The fourth is devoted to Rethoric of music and the Theory of topics, and this is a good place to propose an analysis of a fugue of Bach. The fifth theme explains the functional harmony, a field from which I have written several papers before in Academia. And the sixth theme updates the theory of sonata with the last publications and contrubutions of scholars as William Caplin and Hepokosky & Darcy. It ends with the analysis of a binary sonata of Scarlatti and a classical sonata by Mozart.
The book contains a list of works to analyse from Gregorian Chant to 19th century, an extended bibliography and many pages devoted to theory including several charts, figures, examples and analysis.

La investigación en la Fonoteca de Arte Sonoro y Música Experimental SONM tratará de rastrear nuevos significados del ruido en trabajos donde este sea no sólo la forma sino el tema de su discurso. Para ello se centrará en los aspectos espirituales y religiosos, en un intento de buscar patrones ideológicos y políticos en las prácticas sonoras y en su recepción. En la búsqueda de los significados del ruido en la cultura occidental, las relaciones entre economía y religión han sido una constante desde el principio. Sin embargo, más allá de las relaciones con el sacrificio y la música, es evidente que el ruido comparte ontología con lo diabólico y por tanto lo humano. Los mayores problemas sociales tienen relaciones míticas con esa raíz humana, mientras que los sonidos puros, cuya máxima abstracción es el silencio, llaman a un imaginario divino. Una manera útil de encontrar estas connotaciones políticas en los sonidos es llevándolos al terreno urbano, dado que sonido y arquitectura muchas veces comparten tópicos en su interrelación con lo social.

La música flamenca se encuentra en un momento importante de difusión, renovación y desarrollo. De ser una música de origen tradicional y transmisión oral, como en su momento lo fue el Blues, está pasando a ser fuente de nuevas creaciones, inspiraciones y fusiones con otros estilos populares. De las primeras experiencias de Paco de Lucía con John McLaughlin o Al Di Meola, los acercamientos de Chick Corea a la música española, se ha pasado a las fusiones con todo tipo de estilos (el pop latino de Ketama, el flamenco-jazz de Chano Domínguez, el piano clásico-flamenco de David Peña Dorantes, incluso el chill-out flamenco…).

El conocimiento a través del análisis de los diferentes aspectos técnicos de este estilo musical posibilita en gran medida su acercamiento a músicos con otro tipo de formación musical y el desarrollar una pedagogía válida aplicable a su enseñanza dentro del ámbito de las músicas populares modernas.

De estos aspectos, uno de los más interesantes es el del conocimiento de la armonía flamenca. En esta conferencia se exponen los materiales armónicos principales empleados en los diferentes estilos flamencos: modalidad, tonalidad, escalas, acordes que surgen de estas escalas, cadencias, disposiciones acordales que imitan la guitarra flamenca,  dominantes secundarias, sustituciones de acordes, posibles cifrados, etc.



PALABRAS CLAVE:

flamenco, palos, cantes, falsetas, modo frigio, modo lidio, escala mixolidia b13, escala de tonos (hexatonal), cadencia andaluza, cadencia de tarantas, cadencia de tangos, cadencia de seguiriyas, acordes por quintas, acorde de sexta francesa, Isaac Albéniz, Manuel de Falla, Joaquín Turina, Chano Domínguez.

The purpose of this presentation is to share findings from a decades-long search to develop the optimal method, with some basis in natural law, for translating music―and perhaps all auditory manifestations―into chromatic visual displays, a process this paper names Chromoacoustics, (" CAS ") or " color and sound. " The outcome could provide insights into the operation of well-concealed natural laws. It is clear that this research could furnish beneficial results through instructional and therapeutic applications, among which are means to provide enhanced tools for teaching the hearing-impaired. Résumé Le but de cette présentation est de partager les conclusions issues d'une recherche de dizaines d'années visant à développer la méthode optimale, avec une certaine base avec les lois naturelles, pour traduite la musique – et peut être toutes les manifestations auditives – en des affichages visuels chromatiques, un procédé que cet article appelle Chromoacoustique, (« CAS ») ou « couleur-son ». Le résultat pourrait donner un aperçu de l'opération de lois naturelles qui sont bien dissimulées. Ceci a été accompli car il est clair que l'issue pourrait générer des résultats bénéfiques à travers des applications pédagogiques et thérapeutiques, procurant des outils pour l'enseignement chez les malentendants.

The common term “diatonic modulation” involves two distinct meanings:
modulations into keys whose tonics are diatonic triads in the source keys (this study also distinguishes them from closely related keys) and modulations via a pivot chord that is diatonic in both source and target keys. Modulations may fulfill one condition but not the other.  Modulations can reach a diatonic goal by several means: pivot chords that are chromatic in either the source key, the target key, or both; by means of enharmonic pivot chords; or without any pivot chords. Modulations can also reach some distant goals by means of pivot chords that are diatonic in both source and target keys. A corollary aspect of normative diatonic modulations is a stable phrase rhythm, but this can also be separated from diatonic modulations. The study also suggests pedagogical adaptation of the distinctions made, since they are missing in harmony textbooks.

(Note: Musical fonts have been lost in the academia online version, better download the PDF version o read it in http://www.lamadeguido.com/fundamentos/eindex.htm)

The phenomenon of harmonics shapes the mechanisms of musical apprehensions. In particular, the third harmonic (the fifth), the perfect consonance, is responsible for creating the "laws" that govern our perception of harmonic tensions.
Harmonics create the palette of available sounds and intervals, and the second harmonic (the octave) is the cause that all intervals between notes can be reduced (apart from unison) to six: m2 (M7), M2 (m7), m3 (M6), M3 (m6), P4 (P5) and tritone. Of these intervals there are two very close to the perfect fifth consonance (half-tone difference), are the "quasi-fifth" intervals of M3 and tritone, which discharge their tension if one of their two notes is directed toward the note (or fundamental) that would "resolve the tuning of the fifth". These are the resolutions we call htonal and Phrygian, very important interrelationship between chords for the establishment of harmonic and tonal tensions and relaxions.
If we take these two intervals together, so that we match the resolution notes (which are separated by a tritone), we obtain the 7M3 structure, formed by an M3 and a tritone (for example CEBb), structure that reinforces and increases the resolutive tendency towards these two notes (F and B for CEBb).
This structure (7M3 = M3 + tritone) together with the tendency of tones to resolve a lower fifth (due to the harmonics structure) is what generates tonality (the notes that form the 7M3 structure are known as dominant, leading-tone and subdominant of the tone in which they want to discharge their tension).
These principles (we might also call them musical forces) are therefore very simple and elementary (in fact everything could be reduced simply to the tendency to tune the interval of fifth and to rest in the lower fifth), but, as in nature, combinations of elemental principles (or forces) can give very complex perceptual structures.
We may summarise the harmonic tension of most chords with one or two functional fundamentals (deduced from the harmonics structure) and, regardless of tonality, we can know the degrees of resolution or tension between chords by means of these fundamentals.

The focus of this dissertation is to investigate the perception of single chords, both in terms of perceived emotions and psychoacoustic qualities. Previous empirical research on harmony perception has mainly been concerned with horizontal aspects of harmony: studies focusing on vertical harmony perception have been rare. The current work aims to fill some of the still evident gaps between musicology, music psychology, and psychoacoustics with regard to single chord perception by combining both empirical and theoretical approaches. The work comprises three publications, based on two large-scale empirical experiments conducted with the aim of drawing the attention of both expert and inexpert listeners to have a substantial, heterogeneous, and international participant pool. The applied chord stimuli spanned common triads and tetrads with inversions, and also more rare chord sonorities in the form of pentads and hexachords. Altogether two distinct timbres were used, piano and strings. The stimuli were analyzed in terms of psychoacoustic properties, including e.g., roughness, harmonicity, and sharpness to further account for the obtained results. The results suggest significant differences in emotion perception across different chord types. The inversions and register contributed to the evaluations significantly, non-musicians distinguishing between triadic inversions similarly to musicians. Mildly dissonant chords were more preferred than consonant chords, regardless of musical sophistication or music preferences. Certain chords, especially the major seventh chord played on the strings, conveyed the emotion of nostalgia/longing effectively. New theoretical models are suggested based on the results and psychoacoustic data to explain the capacity of certain chords to convey complex emotions, and the perception of consonance/dissonance in single chords.

Forse il percorso che porta dal pensiero dell’identità alla filosofia
dell’armonia è l’ultimo ed anche il più difficile tratto di cammino che
l’uomo delle società tecnologicamente avanzate, unificate nel pianeta dai mezzi di comunicazione istantanea, deve percorrere per uscire dalla
disumanità del capitalismo indifferente e della dissacrazione della
dimora naturale, e per entrare nella fraternità fra tutte le persone – gli
individui geneticamente e naturalmente appartenenti alla specie umana
– e nella cultura della cura e della custodia della Terra, per tutte le specie
che la coabitano.

Arnold Schoenberg's curious ascription of dissonance to the six-three chord in his Harmonielehre reveals the positing of a unity of tonal and non-tonal music in their solving of problems of unrest in the tone, the dissonance, and the musical idea, but neither his fragmentary theoretical writings nor his interpreters have fleshed this connection out. On the contrary, the notion has arisen of a " tonal problem " as a distinguishing feature of tonal music. Drawing on blending theory and metaphor theory, I elucidate this unity by explaining Schoenberg's dialectical conceptions of the tone, the means of art (made up of consonances and dissonances), the musical work (as a presentation of the musical idea), and the evolution of perception and music and by supplementing Schoenberg's analysis of the first movement of Johannes Brahms's Piano Quartet No. 3 in C minor, op. 60. These findings shed new light on Schoenberg's and indeed on Brahms's musical thought.

This paper tackles the vexed question of the sources of Vitruvius's De Architectura. A series of passages of De Architectura show affinities with the Pythagorean notions of harmony and number proportions. In these passages the concepts of symmetria and eurhythmia, both of which Vitruvius draws from his Greek (probably Microasiatic) sources, are of utmost importance. Both of these concepts imply very specific understandings of an illusionistic mimesis that Aristotle defines as a "mimesis of numbers" (Met. A 987b) typical of Pythagoreanism. Philolaus of Croton seems to rely on this very idea when he states that "all things have a number, without which their knowledge is impossible" (fr. B4). Vitruvius's De Architectura may in turn rely on this idea, directly or, more probably, through the mediation of other authors.

The main objective of this article is to discuss the concept of modulation in extended harmonic structures. Tuning systems based on arithmetic divisions can be observed by means of the prime-factors in their constitutive interval ratios. According to this study, each prime-factor is represents a unique dimension in a geometrical depiction of interval cycles.
An extension of harmonic space may initially focus on the next prime-factors following the fifth proportion, i. e., seven, 11, and 13. All of them require thorough analysis by means of their inner structural and symbolic signification and through the harmonic vectors that each of them implies.
A conception of novel scales based on justly tuned partials may require the use of ratios taken from both the overtone and the theoretical undertone series. The consequences of this dualist model of harmonics (such as it has been proposed by Hugo Riemann and Hans Kayser) may be complemented by the use of subparticular scale models (such as Kathleen Schlesinger’s harmoniai) which may be applied to a consistent harmonic structure only under certain conditions.
Regarding the necessities for the consistent structural use of extended harmony, aspects of temperament as well as of just intonation will be discussed, along with the practical challenges to produce complicate intervals in unconventional harmonic surroundings. 
This article will refer to Schenkerian graphic analyses of some of my own scores. The investigations are not intended to serve as a portrayal of a personal artistic style. Rather, illustrating this approach in this way seems necessary because a similar attempt has not yet been proposed by other contemporary composers.

While the contemporary world has been heralded as being “post-racial”, we can look all-around to see evidence that this assertion is not only flawed but false. Religion is generally blamed as the key culprit for the escalating conflicts igniting the world over which threatens peace. Yet, rarely is secularism and the void created in its midst carefully analyzed in this context. The historical roots of this problem are more remote than postmodernism and modernism. However, secularism has fractured the way that human identity has been understood throughout time which eclipses the integral relationship between human diversity and religious pluralism.

Philosophers are generally somewhat wary of the hints of number mysticism in the reports about the beliefs and doctrines of the so-called Pythagoreans. It's not clear how much Pythagoras himself (as opposed to his later followers) indulged in speculation about numbers, or in more serious mathematics. But the Pythagoreans whom Aristotle discusses in the Metaphysics had some elaborate stories to tell about how the universe could be explained in terms of numbers—not just its physics but perhaps morality too. Was this just fanciful speculation? Is it muddled as a theory of causality, as Aristotle suggests? I shall try to rehabilitate the passion for numbers by linking it with the notions of harmony and proportion in other thinkers who have a higher credibility factor in the philosophical stakes, and by showing that the desire to reduce quality to quantity, and to discover an exact science that can explain human life and meaning, is a serious philosophical passion that doesn't easily go away. And, after all, why should it?

Expanded use of mixture is a main distinguishing feature that differentiates the mostly diatonic tonal system of the eighteenth century from the chromatic tonal system of the nineteenth century, yet this process is often misunderstood and underemphasized. A clear understanding of mixture and its function is essential to the understanding of chromaticism, its relationship to the diatonic system, and its role in both large and small-scale musical structures. This is not possible without a refined and precise system of terminology to describe and discuss it.
This study suggests refinements in concept and terminology that more clearly distinguishes among various types of mixture and their derivations, and develops a methodology that demonstrates the applicability and usefulness of these refinements. Its goal is to provide a way to be more precise and consistent in discussions of mixture, with the hope that this will lead to a deeper understanding of its role within the chromatic tonal language of the nineteenth century.

Executive Summary Each year thousands of children under 18-year have been affected by armed conflict, directly and indirectly. They are recruited on the hope (of better future), fear, and insecurity. Child soldier is widely practiced in the form of spies, porters, messengers, cooks, lay or clear landmines, training or guarding other children, weapons transport workers, etc. in conflict-prone countries. Girl child is always at high risk of rape and other forms of cruel, inhumane and degrading treatment. Such forms rob their childhood and expose to terrible endangers through the psychological, physical and socio-cultural sufferings. Due to these consequences, child soldiers are deprived of their basic and constitutional fundamental rights such as right to life, liberty, security and so forth. Most of them die or badly injured during the battle. In case of their rescue, socio-cultural reintegration is difficult. Child soldiers are double victimized while most of the relatives are reluctant to accept them and the surrounding community is negative and biased to them. The situation is even worse for the girl soldiers. The issue of child soldiers has been a global problem where around 300,000 children are serving in more than 30 countries. Internal armed or socio-cultural conflict, poverty, illiteracy, ignorance, insecurity and religious, social and political causes are some of the major reasons for its prevalence. Easily and cheaply available small arms and light weapons (SALW) fuel this problem further. The desire of authoritarian regimes, along with bad governance, injustice, ethno-cultural identity-based interests, unequal distribution of resources and ideology are its root causes. Unpaid service, easily available (capture to children), obedient, dependent and easy to use in different circumstances are the attractions for the warlord(s) to choose children. So they are vulnerable. Some commanders believe that children are more efficient and better fighter than the other soldiers. They are not easily noticeable by the enemies. Child soldiering is not a problem of single community. The negative effects are not limited in the concerned country, only. In some of the war torn countries, it seems that majority of future

This paper begins by examining domination as something human beings have “inherited" through recursive processes that can potentially be altered through creation and implementation of new myths. Applying Riane Eisler's model of "hierarchies of actualization" to the concept of egalitarian mentorship and mutual empowerment (based on giving and caring), there follows a discussion on how when such ethical considerations are present, creativity flourishes as do conviction and human capacity. Driven by a heightened sense of mission toward the happiness of humanity as taught by exemplary mentors, human beings become more capable of inspiring and enhancing their own lives and those of others. Exploring the partnership template in my own daily life, I conclude with how I see myself modeling partnership in the future. Examining my own lived-embodied experience and how it has brought me to value life as well as discover in music and my voice a powerful vehicle for delivering my message, I propose to contribute to an evolutionary consciousness that can ultimately transform myths of fear and domination to myths of life and partnership.