445:: "Music is everything that one listens to with the intention of listening to music". This approach permits the boundary between music and noise to change over time as the conventions of musical interpretation evolve within a culture, to be different in different cultures at any given moment, and to vary from person to person according to their experience and proclivities. It is further consistent with the subjective reality that even what would commonly be considered music is experienced as non-music if the mind is concentrating on other matters and thus not perceiving the sound's
493:... This definition distinguishes music, as an end in itself, from compositional technique, and from sounds as purely physical objects." More precisely, "music is the actualization of the possibility of any sound whatever to present to some human being a meaning which he experiences with his bodyâthat is to say, with his mind, his feelings, his senses, his will, and his metabolism". It is therefore "a certain reciprocal relation established between a person, his behavior, and a sounding object".
514:, since "it is precisely the 'subjective' aspect of experience which lured many writers earlier in this century down the path of sheer opinion-mongering. Later on this trend was reversed by a renewed interest in 'objective,' scientific, or otherwise non-introspective musical analysis. But we have good reason to believe that a musical experience is not a purely private thing, like
111:(1912â1992). The written score has three movements and directs the performer(s) to appear on stage, indicate by gesture or other means when the piece begins, then make no sound throughout the duration of the piece, marking sections and the end by gesture. The audience hears only whatever ambient sounds may occur in the room. Some argue that
496:
Clifton accordingly differentiates music from non-music on the basis of the human behavior involved, rather than on either the nature of compositional technique or of sounds as purely physical objects. Consequently, the distinction becomes a question of what is meant by musical behavior: "a musically
115:
is not music because, among other reasons, it contains no sounds that are conventionally considered "musical" and the composer and performer(s) exert no control over the organization of the sounds heard. Others argue it is music because the conventional definitions of musical sounds are unnecessarily
313:
in reference to his own musical aesthetic. Varèse's concept of music as "organized sound" fits into his vision of "sound as living matter" and of "musical space as open rather than bounded". He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural
269:
considers the difference between noise and music nebulous, explaining that "The border between music and noise is always culturally definedâwhich implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all
639:
The neutral level is that of the physical "trace", (Saussere's sound-image, a sonority, a score), created and interpreted by the esthesic level (which corresponds to a perceptive definition; the perceptive and/or "social" construction definitions below) and the poietic level (which corresponds to a
530:
Music is not a fact or a thing in the world, but a meaning constituted by human beings. ... To talk about such experience in a meaningful way demands several things. First, we have to be willing to let the composition speak to us, to let it reveal its own order and significance. ... Second, we have
399:
proposes that categories are not clean cut but that something may be more or less a member of a category. As such the search for musical universals would fail and would not provide one with a valid definition. This is primarily because other cultures have different understandings in relation to the
329:
states that "while there are no sounds that can be described as inherently unmusical, musicians in each culture have tended to restrict the range of sounds they will admit." A human organizing element is often felt to be implicit in music (sounds produced by non-human agents, such as waterfalls or
525:
Clifton's task, then, is to describe musical experience and the objects of this experience which, together, are called "phenomena", and the activity of describing phenomena is called "phenomenology". It is important to stress that this definition of music says nothing about aesthetic standards.
505:
In this framework, Clifton finds that there are two things that separate music from non-music: (1) musical meaning is presentative, and (2) music and non-music are distinguished in the idea of personal involvement. "It is the notion of personal involvement which lends significance to the word
501:
the sounds. First, the person is doing more than listening: he is perceiving, interpreting, judging, and feeling. Second, the preposition 'to' puts too much stress on the sounds as such. Thus, the musically behaving person experiences musical significance by means of, or through, the sounds".
632:
of this collection of strategies; that is, the components that go into the work's material embodiment. Poietic description thus also deals with a quite special form of hearing (Varese called it 'the interior ear'): what the composer hears while imagining the work's sonorous results, or while
414:
Many people do, however, share a general idea of music. The
Websters definition of music is a typical example: "the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity"
636:"By 'esthesic' I understand not merely the artificially attentive hearing of a musicologist, but the description of perceptive behaviors within a given population of listeners; that is how this or that aspect of sonorous reality is captured by their perceptive strategies".
580:
universal concept defining what music might be". Given the above demonstration that "there is no limit to the number or the genre of variables that might intervene in a definition of the musical", an organization of definitions and elements is necessary.
572:: "The border between music and noise is always culturally definedâwhich implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no
334:
states that the sound of classical music "has decays; it is granular; it has attacks; it fluctuates, swollen with impuritiesâand all this creates a musicality that comes before any 'cultural' musicality." However, in the view of semiologist
261:(1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling
531:
to be willing to question our assumptions about the nature and role of musical materials. ... Last, and perhaps most important, we have to be ready to admit that describing a meaningful experience is itself meaningful.
116:
and arbitrarily limited, and control over the organization of the sounds is achieved by the composer and performer(s) through their gestures that divide what is heard into specific sections and a comprehensible form.
41:. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate. A number of explanations start with the notion of music as
124:
Because of differing fundamental concepts of music, the languages of many cultures do not contain a word that can be accurately translated as "music" as that word is generally understood by
Western cultures.
497:
behaving person is one whose very being is absorbed in the significance of the sounds being experienced." However, "It is not altogether accurate to say that this person is listening
70:
defines music as "the art of combining vocal or instrumental sounds (or both) to produce beauty of form, harmony, and expression of emotion". However, some music genres, such as
770:
It is a mystical (but atheistic) asceticism. Consequently, expressions of sadness, joy, love and dramatic situations are only very limited particular instances.
371:
Most definitions of music include a reference to sound and a list of universals of music can be generated by stating the elements (or aspects) of sound:
45:
but they also highlight that this is perhaps too broad a definition and cite examples of organized sound that are not defined as music, such as human
1787:
1761:
339:, "just as music is whatever people choose to recognize as such, noise is whatever is recognized as disturbing, unpleasant, or both". (See "
764:
It is catalytic: its mere presence permits internal psychic or mental transformations in the same way as the crystal ball of the hypnotist.
78:, challenge these ideas by using sounds not widely considered as musical, beautiful or harmonious, like randomly produced electronic
31:
endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of
224:
While some languages in West Africa have no term for music, some West
African languages accept the general concepts of music.()
1852:
1753:
1745:
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Because of this range of definitions, the study of music comes in a wide variety of forms. There is the study of sound and
357:
Levi R. Bryant defines music not as a language, but as a marked-based, problem-solving method, comparable to mathematics.
1810:
1305:, edited by Jennifer Rosevear and Susan Harding, 22â28. Parkville, Victoria: The Australian Society for Music Education.
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being the sound and performance of music,() though some things
European-influenced listeners would include, such as
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and Joseph Darby, with
Matthew Santa, pp. 221-231 New York: Schirmer Books; London: Prentice Hall International.
1729:
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Music: Educating for Life: Adelaide, 30 September â 2 October 2015: ASME XXth
National Conference Proceedings
1958:
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189:. Many other languages have terms which only partly cover what Western culture typically means by the term
149:
to refer to a complex mix of music and other poetic verbal and non-verbal elements, and reserved the word
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creative, as in compositional, definition; the organizational and social construction definitions below).
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58:
1725:"John Cage and the Avant-Garde: The Sounds of Silence}, classicalnotes.net. Retrieved 2 December 2015.
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The Oxford
Universal Dictionary Illustrated: An illustrated Edition of the Shorter Oxford Dictionary
510:
in this definition of music". This is not to be understood, however, as a sanctification of extreme
318:. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called
761:
It is normative, that is, unconsciously it is a model for being or for doing by sympathetic drive.
485:, Thomas Clifton defines music as "an ordered arrangement of sounds and silences whose meaning is
1934:
153:(or cuicacayotl) only for the sung expressions. There is no term for music in Nigerian languages
1779:: "sounds that are sung by voices or played on musical instruments." Retrieved 1 December 2015.}
305:
An often-cited definition of music is that it is "organized sound", a term originally coined by
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It is a fixing in sound of imagined virtualities (cosmological, philosophical, ..., arguments)
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of music. An extreme statement of the position has been articulated by the
Italian composer
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birds, are often described as "musical", but perhaps less often as "music"). The composer
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as
Category and Communication among the Argentine Mapuche: A Methodological Suggestion".
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environments . The problem of defining music is further complicated by the influence of
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among the composer's intentions, his creative procedures, his mental schemas, and the
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1271:. Eastman Studies in Music 29. Rochester, New York: University of Rochester Press.
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There are three levels of description, the poietic, the neutral, and the esthesic:
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Burton, Russell L. 2015. "The
Elements of Music: What Are They, and Who Cares? In
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A brief sketch of some definitions found throughout history by Marcel Cobussen
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Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure
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It is a sort of comportment necessary for whoever thinks it and makes it.
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71:
1288:, translated and edited by David Osmond-Smith. New York: Marion Boyars.
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The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology
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1516:, translated by Carolyn Abbate. Princeton: Princeton University Press.
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511:
490:
32:
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and the study of the reception and history of music, generally called
1740:, third edition, 1980. Oxford and New York: Oxford University Press.
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1612:
Music in the Mind, The Concepts of Music and Musicians in Afghanistan
1549:
Nettl, Bruno. 2005. "The Art of Combining Tones: The Music Concept".
1385:
785:
713:
391:.). However, in terms more specifically relating to music: following
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322:", and he posed the question, "what is music but organized noises?"
101:
An often-cited example of the dilemma in defining music is the work
1772:, third edition, revised, 2 vols. London: The Caxton Publishing Co.
380:
205:, but they do have words for instrumental versus improvised forms (
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theory of rhetoric, poetry, dance, and instrumental music used the
1025:
94:, and sounds produced using compositional processes which utilize
1631:
Classic Essays on Twentieth-Century Music: A Continuing Symposium
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Berio, Luciano, Rossana Dalmonte, and BĂĄlint AndrĂĄs Varga. 1985.
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This Is Your Brain on Music: The Science of a Human Obsession
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37:
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1553:. 2nd ed. Chicago: University of Illinois Press, pp. 26â37
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881:
518:, and that reporting about such an experience need not be
265:. They subsequently published it separately. Musicologist
133:
languages do not have a general term for music. Among the
1469:. 2007. "La mĂşsica de los aztecas / Music Among Aztecs",
1367:
953:
941:
893:
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553:
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Formalized Music: Thought and Mathematics in Composition
1448:. Continuum International Publishing Group. London: 3-19
584:
Nattiez (1990, 17) describes definitions according to a
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sounds that English-language writers refer to as music.
1102:
1100:
1049:
18:"Organized sound" redirects here. For the journal, see
1433:. Columbia MS 6146 (stereo)" (in Reviews of Records).
1371:. Allen, R. E., ed. 1992. Clarendon Press. Oxford: 781
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1500:. 1975. "Fait musical et sĂŠmiologue de la musique",
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in the sense of it being a mere matter of opinion".
1687:. Bloomington and London: Indiana University Press.
1534:
Blackfoot Musical Thought: Comparative Perspectives
917:
433:This approach to the definition focuses not on the
1827:): The Science of Music, a generative music theory
1582:
1037:
911:
833:
1461:, Spring 2014 edition, edited by Edward N. Zalta.
278:universal concept defining what music might be".
1945:
1589:Yearbook of the International Folk Music Council
1514:Music and Discourse: Toward a Semiology of Music
1353:Music as Heard: A Study in Applied Phenomenology
869:
797:
644:Table describing types of definitions of music:
1788:The New Grove Dictionary of Music and Musicians
1649:
1392:. New Haven and London: Yale University Press.
1355:. New Haven and London: Yale University Press.
1007:
857:
845:
1768:Little, William, and C. T. Onions, eds. 1965.
588:semiological scheme similar to the following:
1846:
1762:Journal of the American Musicological Society
1759:List, George. 1985. "Hopi Melodic Concepts".
1465:
887:
720:and performance practice or music theory and
716:, the cognitive study of music, the study of
1583:Robertsonâde Carbo, Carol Elizabeth. 1976. "
1390:No Such Thing as Silence: John Cage's 4â˛33âł
1338:"Varèse: A Sketch of the Man and His Music"
624:" By 'poietic' I understand describing the
1853:
1839:
633:experimenting at the piano, or with tape."
1536:. Ohio: The Kent State University Press.
1380:". You Tube/Tedx (accessed 14 July 2014).
1675:. n.d. "Noise as Permanent Revolution".
1405:Goldman, Richard Franko. 1961. "Varèse:
422:
1679:
1629:. 1996. "Music and the Soundscape", in
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1508:
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1459:The Stanford Encyclopedia of Philosophy
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232:word for the science and art of music,
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1738:The Concise Oxford Dictionary of Music
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744:) defined music in the following way:
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1614:. Kent: Kent State University Press.
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552:whose definitions vary according to
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1570:. New York: Bloomsbury Publishing.
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209:), European and non-Mapuche music (
13:
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14:
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1092:Berio, Dalmonte, & Varga 1985
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1667:5, no. 1 (AutumnâWinter): 11â19.
107:(1952) by the American composer
1799:. London: Macmillan Publishers.
1706:"An Autobiographical Statement"
417:Webster's Collegiate Dictionary
1775:Merriam-webster.com,. (2015).
1734:The Oxford Dictionary of Music
1599:. 1973. "Natural Categories".
1331:5, no. 1 (AutumnâWinter): 1â6.
816:Concise Oxford Dictionary 1992
564:. It is often contrasted with
281:
1:
1439:47, no. 1. (January):133â134.
1369:The Concise Oxford Dictionary
791:
325:The fifteenth edition of the
1791:, second edition, edited by
1765:38, no. 1 (Spring): 143â152.
1551:The Study of Ethnomusicology
568:. According to musicologist
7:
1378:Is John Cage's 4â˛33âł Music?
1346:52, no. 2 (April): 151â170.
774:
346:
10:
1975:
1429:. Instrumentalists, cond.
1323:"Open Rather Than Bounded"
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469:, which sets out from the
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59:culture in music cognition
35:what is meant by the term
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1932:
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1664:Perspectives of New Music
1659:"The Liberation of Sound"
1478:Levitin, Daniel J. 2006.
1328:Perspectives of New Music
654:(choice of the composer)
596:
593:
395:, cognitive psychologist
341:music as social construct
67:Concise Oxford Dictionary
49:and sounds found in both
1714:Originally published in
1610:Sakata, Lorraine. 1983.
1605:4, no. 3 (May): 328â350.
1566:Priest, Eldritch. 2013.
1267:Ashby, Arved, ed. 2004.
240:chanting, are excluded.
1935:List of music theorists
1455:The Philosophy of Music
1351:Clifton, Thomas. 1983.
1336:Chou Wen-chung. 1966b.
912:Robertsonâde Carbo 1976
387:, spatial location and
327:EncyclopĂŚdia Britannica
201:do not have a word for
1453:Kania, Andrew. 2014. "
1446:Noise/Music: A History
664:(perceptive judgment)
659:(physical definition)
533:
1510:Nattiez, Jean-Jacques
1504:, no. 17:37–62.
1467:Leon-Portilla, Miguel
1444:Hegarty, Paul, 2007.
1436:The Musical Quarterly
1376:Dodd, Julian. 2013. "
1343:The Musical Quarterly
528:
516:seeing pink elephants
423:Subjective experience
270:accounts there is no
213:), ceremonial songs (
147:In xochitl-in kwikatl
131:North American Indian
1723:Gutmann, P. (2015).
1602:Cognitive Psychology
1484:. New York: Dutton.
1008:Varèse and Chou 1966
751:It is an individual
614:Listener (Receiver)
602:Composer (Producer)
570:Jean-Jacques Nattiez
456:Specific definitions
337:Jean-Jacques Nattiez
267:Jean-Jacques Nattiez
253:Ludwig van Beethoven
1959:Philosophy of music
1635:Richard Kostelanetz
429:Aesthetics of music
419:, online edition).
29:definition of music
1823:2005-09-03 at the
1627:Schafer, R. Murray
1427:Poème Electronique
888:Leon-Portilla 2007
465:In his 1983 book,
361:Musical universals
1941:
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1817:MusicNovatory.com
1785:. 2001. "Music".
1754:978-0-19-869162-4
1746:978-0-19-311333-6
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540:"Music, often an
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1692:
1690:
1689:
1677:
1669:
1655:Chou Wen-chung
1651:Varèse, Edgard
1647:
1623:
1607:
1597:Rosch, Eleanor
1593:
1580:
1563:
1546:
1526:
1506:
1502:Musique en jeu
1494:
1475:
1463:
1450:
1441:
1402:
1382:
1373:
1365:
1348:
1333:
1319:Chou Wen-chung
1315:
1298:
1286:Two Interviews
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1036:
1034:, 47–48.
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1012:
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928:
916:
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790:
789:
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771:
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762:
759:
756:
749:
738:Iannis Xenakis
733:
730:
704:
703:
698:
693:
688:
684:
683:
680:
673:
672:musical sound
670:
666:
665:
662:esthesic level
660:
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642:
641:
637:
634:
616:
615:
612:
609:
608:Sound (Trace)
606:
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537:
534:
467:Music as Heard
462:
459:
457:
454:
427:Main article:
424:
421:
408:Main article:
405:
402:
365:Main article:
362:
359:
351:Main article:
348:
345:
314:phenomenon of
301:Spectral music
288:
285:
283:
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245:
242:
137:, the ancient
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118:
9:
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1576:9781441122131
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781:Zoomusicology
779:
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747:
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694:
692:(nonmusical)
689:
686:
685:
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674:
671:
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657:neutral level
656:
652:poietic level
651:
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546:entertainment
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479:Merleau-Ponty
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468:
453:
451:
448:
444:
443:Luciano Berio
440:
436:
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411:
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398:
397:Eleanor Rosch
394:
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338:
333:
328:
323:
321:
317:
312:
311:Edgard Varèse
308:
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298:
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279:
277:
276:intercultural
273:
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96:indeterminacy
93:
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85:
81:
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62:
60:
56:
52:
48:
44:
40:
39:
34:
30:
23:
22:
16:
1892:
1862:Music theory
1797:John Tyrrell
1786:
1783:Nettl, Bruno
1769:
1760:
1737:
1733:
1715:
1710:johncage.org
1709:
1684:
1662:
1633:, edited by
1630:
1611:
1600:
1588:
1584:
1567:
1550:
1533:
1530:Nettl, Bruno
1513:
1501:
1498:Molino, Jean
1479:
1470:
1458:
1445:
1434:
1431:Robert Craft
1426:
1422:
1418:
1414:
1411:Density 21.5
1410:
1406:
1389:
1368:
1352:
1341:
1326:
1302:
1285:
1268:
1259:
1258:
1251:Xenakis 1971
1246:
1239:Nattiez 1990
1234:
1227:Nattiez 1990
1222:
1210:
1205:, 47â48, 55.
1203:Nattiez 1990
1198:
1186:
1179:Clifton 1983
1174:
1167:Clifton 1983
1162:
1155:Clifton 1983
1150:
1143:Clifton 1983
1138:
1131:Clifton 1983
1126:
1119:Clifton 1983
1114:
1107:Clifton 1983
1087:
1080:Levitin 2006
1075:
1063:
1051:
1039:
1032:Nattiez 1990
1027:
1020:Schafer 1996
1015:
1003:
991:
986:, 1–4.
979:
972:Goldman 1961
967:
960:Nattiez 1990
955:
943:
931:
919:
907:
900:Schafer 1996
895:
883:
871:
859:
847:
840:Hagerty 2007
835:
823:
811:
799:
741:
735:
718:music theory
707:
700:disagreeable
675:sound of the
643:
629:
625:
619:
583:
577:
573:
539:
529:
524:
507:
504:
498:
495:
489:rather than
487:presentative
473:position of
466:
464:
449:
446:
438:
435:construction
434:
432:
416:
413:
393:Wittgenstein
370:
356:
326:
324:
304:
275:
271:
262:
256:
247:
233:
225:
223:
218:
214:
211:kantun winka
210:
206:
202:
190:
150:
146:
123:
112:
102:
100:
65:
63:
42:
36:
28:
26:
20:
15:
1954:Definitions
1899:Mathematics
1888:Composition
1673:Watson, Ben
1215:Molino 1975
1191:Molino 1975
1056:Burton 2015
948:Watson n.d.
936:Sakata 1983
828:Priest 2013
562:Jean Molino
437:but on the
282:Definitions
151:Kwikakayotl
72:noise music
1948:Categories
1919:Set theory
1914:Psychology
1909:Philosophy
1904:Musicology
1893:Definition
1873:Aesthetics
1702:Cage, John
1620:087338265X
1423:Hyperprism
1415:IntĂŠgrales
1407:Ionisation
1398:0300136994
1386:Gann, Kyle
1082:, 136â139.
1068:Rosch 1973
1044:Ashby 2004
996:Chou 1966b
984:Chou 1966a
950:, 109â110.
924:Nettl 1989
902:, 222-223.
876:Nettl 2005
804:Kania 2014
792:References
726:musicology
687:non-music
586:tripartite
520:subjective
512:relativism
491:denotative
439:experience
343:" below.)
291:See also:
258:GroĂe Fuge
249:Ben Watson
80:distortion
55:industrial
1321:. 1966a.
962:, 48, 55.
864:Gann 2010
852:Dodd 2013
786:Sound art
736:Composer
714:acoustics
710:vibration
679:spectrum
332:R. Murray
309:composer
307:modernist
199:Argentina
129:and most
109:John Cage
92:cacophony
1878:Analysis
1821:Archived
1732:. 1985.
1683:. 1971.
1657:. 1966.
1591:8:35â42.
1532:. 1989.
1512:. 1990.
1419:Octandre
1388:. 2010.
1058:, 22â28.
775:See also
677:harmonic
450:as music
385:duration
381:loudness
347:Language
193:.() The
84:feedback
33:defining
1883:Aspects
1720:, 1991.
1260:Sources
753:pleroma
732:Xenakis
558:culture
548:, is a
536:Nattiez
508:ordered
475:Husserl
461:Clifton
447:essence
389:texture
263:Allegro
230:Persian
228:is the
217:), and
195:Mapuche
143:Nahuatl
139:Mexican
51:natural
1924:Tuning
1752:
1744:
1653:, and
1645:(pbk).
1641:
1618:
1574:
1557:
1540:
1520:
1488:
1396:
1359:
1309:
1292:
1275:
1253:, 181.
1181:, 5â6.
1169:, 8â9.
1157:, 3â4.
1070:, 328.
1022:, 284.
998:, 157.
974:, 133.
830:, 132.
702:noise
669:music
630:result
574:single
483:RicĹur
481:, and
377:timbre
299:, and
272:single
226:Musiqi
207:kantun
187:Jarawa
159:Yoruba
135:Aztecs
88:static
47:speech
1777:music
1585:Tayil
1471:Pauta
1241:, 46.
1229:, 90.
1217:, 42.
1193:, 37.
1133:, 10.
1094:, 19.
1010:, 18.
938:, 39.
926:, 48.
914:, 39.
890:, 11.
695:noise
690:noise
566:noise
373:pitch
320:noise
238:Quran
234:muzik
219:tayil
203:music
191:music
183:Eggon
179:Idoma
175:Hausa
171:Birom
145:term
127:Inuit
113:4â˛33âł
104:4â˛33âł
38:music
1795:and
1750:ISBN
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1572:ISBN
1555:ISBN
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1486:ISBN
1394:ISBN
1357:ISBN
1307:ISBN
1290:ISBN
1273:ISBN
1145:, 2.
1121:, 1.
1109:, 9.
1046:, 4.
626:link
576:and
556:and
274:and
167:Efik
163:Igbo
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712:or
554:era
542:art
255:'s
197:of
185:or
155:Tiv
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