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“MEDITATIONS” FOR CLARINET SOLO BY VALENTIN TIMARU - MUSICAL ANALYSIS
Published 2011-12-01“…The modal-chromatic discourse imposes that the intonation reference point be the augmented second, and, as well, the intervallic conflict between the augmented fourth and the perfect fourth (and, its complementary, the perfect fifth). The “thematic” segment that generated them nourishes all these. …”
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Culture influences conscious appraisal of, but not automatic aversion to, acoustically rough musical intervals.
Published 2023-01-01“…In order to disentangle the contribution of culture and psychoacoustics, we considered automatic responses to the perfect fifth and the major second (flattened by 25 cents) intervals alongside conscious evaluations of the same intervals across two cultures and two levels of musical expertise. …”
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Computational modeling of interval distributions in tonal space reveals paradigmatic stylistic changes in Western music history
Published 2024-05-01“…Our results show that tonal interval relations become increasingly complex, that the interval of the perfect fifth dominates compositions for centuries, and that one can observe a stark increase in the usage of major and minor thirds during the 19th century, which coincides with the emergence of extended tonality. …”
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Scaling, Mirror Symmetries and Musical Consonances Among the Distances of the Planets of the Solar System
Published 2022-01-01“…Furthermore, the ratios of neighboring planetary pairs correspond to four musical “consonances” having frequency ratios of 5/4 (Major Third), 4/3 (Perfect Fourth), 3/2 (Perfect Fifth) and 8/5 (Minor Sixth); the probability of obtaining this result randomly has a p < 0.001. …”
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Probing the neural dynamics of musicians’ and non-musicians’ consonant/dissonant perception: Joint analyses of electrical encephalogram (EEG) and functional magnetic resonance imag...
Published 2024-09-01“…Previous literature has suggested that musicians and non-musicians adopt different strategies when discerning music intervals: while musicians rely on the frequency ratios between the two fundamental frequencies, such as “perfect fifth” (3:2) as consonant and “tritone” (45:32) as dissonant intervals; non-musicians may rely on the presence of ‘roughness’ or ‘beats’, generated by the difference of fundamental frequencies, as the key elements of ‘dissonance’. …”
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