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Springer Handbook of Systematic Musicology Springer Handbook of Systematic Musicology Springer Handbooks provide a concise compilation of approved key information on methods of research, general principles, and functional relationships in physical and applied sciences. The world’s leading experts in the fields of physics and engineering will be as- signed by one or several renowned editors to write the chapters com- prising each volume. The content is selected by these experts from Springer sources (books, journals, online content) and other systematic and approved recent publications of scientific and technical information. The volumes are designed to be useful as readable desk reference book to give a fast and comprehen- sive overview and easy retrieval of essential reliable key information, including tables, graphs, and bibli- ographies. References to extensive sources are provided. HandbookSpringer of Systematic Musicology Rolf Bader (Ed.) With952Figuresand61Tables HK Editor Rolf Bader University of Hamburg Institute of Systematic Musicology Neue Rabenstr. 13 20354 Hamburg [email protected] ISBN: 978-3-662-55002-1 e-ISBN: 978-3-662-55004-5 https://doi.org/10.1007/978-3-662-55004-5 Library of Congress Control Number: 2018930527 © Springer-Verlag GmbH Germany 2018 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Production and typesetting: le-tex publishing services GmbH, Leipzig Typography and layout: schreiberVIS, Seeheim Illustrations: Hippmann GbR, Schwarzenbruck Cover design: eStudio Calamar Steinen, Barcelona Cover production: WMXDesign GmbH, Heidelberg Printed on acid free paper This Springer imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland V Preface Systematic Musicology is a field that grew tremen- plucked, bowed, blown, etc. The Berlin phonogram dously over the last decades to such an extent and into archive, recording music from around the world on wax so many topics, that for quite some time researchers cylinders, started with a recording of a Thai phi pha as well as students in the field have been demand- orchestra in the Berlin Tiergarten in 1900. Jaap Kunst ing a comprehensive overview of the different parts of was among the first to collect recordings in today’s the discipline. As the field of Systematic Musicology Indonesia in the 1920s and 1930s developing Ethno- is so wide, there is a need for introductions, reviews, musicology on his many fieldtrips. In the US, Charles teaching materials, and the display of recent trends for Seeger was co-founder of the Society of Comparative researchers in related fields who want to connect and Musicology and Frances Desmond was collecting the interact within this highly interdisciplinary area. There- music mainly of native Dakota Indians. fore, the International Working Group of Systematic Carl Stumpf was among the first to introduce mu- and Comparative Musicology decided to compile such sic psychology in modern terms, by discussing how a volume, covering the major areas of research in Sys- a pitch sensation can appear from a multisensory in- tematic Musicology, and making them easily accessible put of many frequencies entering the ear. A distinct to the community. This volume tries to present the state- influence on these early findings came from Gestalt psy- of-the-art in the field while also giving an overview chologists, who indeed first used musical melodies to of basic and fundamental methodologies and termi- derive their Gestalt laws. Early experiments on musi- nologies. It also discusses recent trends and topics and cal timbre were performed again by Stumpf and others, therefore hopefully is also inspiring in terms of an in- especially focusing on music and speech as well as on terchange of ideas and subjects. musical transients and tone color. Systematic Musicology is a highly interdisciplinary Many problems of music psychology, like the prob- field, which it has been ever since its ancient origins lem of tonal fusion addressed by Stumpf, were based with philosophers like Pythagoras, Archytas of Tarrent, on the experimental evidence that sounds consists or Aristoxenos. Here the connection between music, of overtones, which was published by Hermann von mathematics, geometry, astronomy, well-being, poli- Helmholtz in 1863. The growing field of electronic mu- tics, and other fields were discussed. Much attention sic enhanced research in these fields in the Bell labs was given to music theory, especially tonal systems or in the US or in the Heinrich-Hertz Institute for vi- rhythm theory. Ancient writings of music theory, like bration of Karl Willy Wagner in Berlin, where also the Indian Natyashastra on music and the arts, or the Barkhausen was working on tubes and on the light bow music theory embedded in the ancient Tamil epic Cilap- for building a loudspeaker and microphone in one de- patik¯aram of today’s Sri Lanka show complex tonal vice. Research on musical instruments was prominently system theories. The Chinese Yueji from 1st and 2nd performed by Felix Savart around 1800, especially century BC is not only a music theory, but also dis- on violins, building a trapezoid-shaped violin body cusses aspects of nature and the social role of music. or an octobass ranging over two floors. Also around In all these traditions musicology, concerned with all this time Friedrich Chladni was discovering longitudi- aspects of music, continued to the present day in many nal waves and building musical instruments with this forms. invention, the clavicylinder and the euphonium,and In modern times the roots of Systematic Musi- wrote the first comprehensive work on vibrating mu- cology lie in Comparative Musicology, which tries to sical systems. determine laws and universals by comparing the mu- All these and many more early works building up sical traditions of the world. This was only possible the field of Systematic Musicology were followed by from around 1900 after the invention of the Edison a tremendous increase in the number of works after phonograph, which made it possible for the first time WWII. Today, the topics discussed in Systematic Mu- to record and playback music on wax cylinders. Fol- sicology range from Musical Acoustics and Musical lowing the systematic approach, right from the start the Signal Processing, Music Psychology and Neuromusi- Hornbostel/Sachs classification of musical instruments cology, Music Ethnology and Comparative Musicology, used a taxonomy based on the acoustical and mechan- Musical Syntax and Philosophy to Musical Applica- ical driving mechanisms of musical instruments, i. e., tions in modern music production and distribution, VI Preface alongside many related topics. The aim of the disci- automatic musical score extraction and adaptive mu- pline is still to understand music, its production and sic control. Modern synthesis methods are discussed perception, its cultural, historical and philosophical in terms of multichannel audio reproduction systems background in a systematic way. This cannot be done using wavefield synthesis, physical modeling using by discussing one aspect alone. So, for example, the de- Finite-Difference methods (FDM), as well as hardware velopment of musical instruments is shaped not only by implementation of FDM with highly parallel processing tradition, but by acoustical, physiological and psycho- Field-Programmable Gate Array (FPGA) hardware. logical constraints, the needs of different compositional Part C, edited by Stefan Koelsch, turns to Music styles, to be technically state-of-the-art, or by political Psychology, addressing many aspects of music percep- and economic demands. Therefore, Systematic Musi- tion and associated musical parameters. It starts with cology needs to consider all aspects of music so as to a review of music time perception, which is a basic aim for a system of music, the Kunst (art) in the Re- issue of an art form developing in time. This leads naissance or Baroque sense of a system of rules, as J.S. to the topic of the dependency of sensual information Bach used the term in his Die Kunst der Fuge (The art stored in memory, both short- and long-term memory of the fugue). This late work by Bach concerned dis- processing and auditory working memory. Here many playing the rules and possibilities that lie within the findings from brain research using EEG, fMRI, MEG, polyphonic
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