By Mark Hijleh
Because the starting of the 20th century, the cross-pollenization of global musical fabrics and practices has speeded up precipitously, due largely to advances in higher-speed communications and commute. we are living now in an international of world musical perform that would merely proceed to blossom and enhance during the twenty-first century and past. but track idea as an instructional self-discipline is just simply commencing to reply to this kind of milieu. meetings, workshops and curricula are for the 1st time commencing to advance round the topic of "world song theory," as scholars, lecturers and researchers realize the necessity for analytical techniques and strategies acceptable to a much broader diversity of human musics, now not least the hybrid musics that impact (and more and more outline) increasingly more of the world's musical practices. "Towards a world song Theory" proposes a few such suggestions and techniques stemming from durational and acoustic relationships among "twos" and "threes" as manifested in a number of interrelated elements of track, together with rhythm, melody, concord, procedure, texture, timbre and tuning, and provides feedback for the way such strategies and techniques can be utilized successfully to the certainty of tune in numerous contexts. whereas a few of the bases for this foray into attainable tools for a twenty-first century track thought lie alongside good demonstrated acoustical and psycho-acoustical strains, Dr Mark Hijleh offers a wide try and follow them conceptually and comprehensively to numerous musics in a correct manner that may be without problems apprehended and utilized by means of scholars, students and academics.
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Extra info for Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures
Incidentally, this would seem to hold true even for “end-oriented” musical cultures such as the Javanese, who place more emphasis on the last event of a group than the first; this conceptually accented note thus attaches to the previous events in terms of its grouping (and in any case is not normally aurally isolated anyway). 30 Towards a Global Music Theory B Apparent groups larger than two or three must be subdivided according to these group-identification principles. However, clearly undifferentiated groups (that is, containing no internal characteristics by which subdivisions can be made) are ambiguous, and may be interpreted contextually (for example, a group of five undifferentiated durations may be seen as 2+3 or 3+2 based on other factors in the analysis).
For example, at one level a group of two eighth notes might be followed by a group of three eighth notes, but at the next higher level this pair of groups is most likely to be indicated as a larger group of two, even though each does not add up to a single quarter note. Rahn (1983:68–71) calls this concept “bisection,” noting that without such allowances many obvious musical grouping hierarchies would be impossible to describe. This principle is perhaps reflected most clearly in the “hyper-grouping” that tends to occurs at the phrase level, but it also operates as needed at lower levels.
If for example the pulse and/ or metrical levels are articulated by quarter notes, there may very well be surface levels of eighth notes, sixteenth notes, or even faster durations. It is clear, then, that any surface levels operate at faster durations than the pulse/metrical levels. In identifying these surface levels, the fastest prevailing duration should be considered the lowest level. But what constitutes the “fastest prevailing duration” is obviously open to interpretation, and may change in context within a selection.