About Music: Critical Listening Skills
Edition: 2
Copyright: 2021
Edition: 2
Copyright: 2021
Pages: 0
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About Music: Critical Listening Skills explains the fascinating aspects of the fundamentals of sound, how musical instruments work, the mechanics of hearing, and how we neurologically process the musical sounds we make. Add to that the way music and sound is recorded, manipulated, and stored, and a whole new way to observe our craft has been revealed in this text. Often these fundamental aspects of music are overlooked or ignored in a curriculum of study of music and music teaching. It is a fascinating trip through the science of acoustics.
In today's music industry there are more non-performing musician-professionals than those who perform. Whether you are a musician or a lover of music, you will have fun discovering these exotic layers of music in terms that you will understand. Readers of this textbook will have a greater understanding of music, listen more deeply, and be able to provide this information to the next generation of performers and listeners.
PREVIEW—What Is Music?
Chapter 1: What Is Music?
1.1 What Is Music?
1.1.1 Types of Music
1.2 Elements of Music
1.2.1 Timbre/Texture
1.2.2 Rhythm
1.2.3 Melody
1.2.4 Harmony
1.2.5 Expressive Characteristics
1.2.6 Form
1.2.7 Style
PART 1—Sound in the Environment
Chapter 2: Basics of Sound
2.1 Subjective Sound
2.1.1 Vibration
2.1.2 Simple Harmonic Motion
2.1.3 Elasticity and Momentum
2.2 Frequency and Amplitude
2.2.1 Perception and Measurement of Frequency
2.2.2 Perception and Measurement of Amplitude
2.3 Transmission of Sound
2.3.1 Media
2.3.2 Resonance
Chapter 3: Complex Sound
3.1 Quality and Timbre
3.1.1 Harmonics
3.1.2 Harmonic Relationships to Pitch and Frequency
3.1.3 Harmonic Relationships to Loudness and Amplitude
3.2 Envelope
3.2.1 Temporal Factors
3.2.2 Description of Sound
3.3 Noise
3.3.1 Musical Uses of Noise
3.3.2 Noise in the Environment
3.3.3 Masking
3.4 Waveforms
3.4.1 Standing Waves
3.4.2 Transverse Waves
3.4.3 Longitudinal Waves
Chapter 4: Acoustic Properties of Music Instruments
4.1 Acoustic Classification of Traditional Music Instruments
4.2 Stringed Instruments
4.2.1 Bowing
4.2.2 Plucking
4.2.3 Striking
4.2.4 Instruments with Strings of Changing Length
4.2.5 Instruments with Strings of Fixed Length
4.2.6 Acoustic Properties of Stringed Instruments
4.3 Wind Instruments
4.3.1 Open and Closed Pipes
4.3.2 Edge Tones in Open Pipes
4.3.3 Reeds and Stopped Pipes
4.3.4 Brasswinds
4.3.5 The Human Voice
4.3.6 Acoustic Properties of Wind Instruments
4.4 Percussion Instruments
4.4.1 Stretched Membranes
4.4.2 Vibrating Rods
4.4.3 Vibrating Plates
4.4.4 Acoustic Properties of Percussion Instruments
Chapter 5: Sound in the Environment
5.1 Environmental Effects Upon Sound
5.1.1 Speed of Sound
5.1.2 Diffusion
5.1.3 Reflection and Refraction
5.1.4 Diffraction
5.1.5 Doppler Effect
5.2 Sound’s Effect Upon Sound
5.2.1 Interference
5.2.2 Beats
5.2.3 Perceived Tones
5.3 Principles of Good Room Acoustics
5.3.1 Reflection and Reverberation
5.3.2 Absorption and Insulation
PART 2—The Ears and Hearing
Chapter 6: Hearing and the Ears
6.1 Introduction
6.2 Hearing and Perception
6.3 The Outer Ear
6.3.1 Pinna (Auricle)
6.3.2 External Auditory Canal
6.4 The Middle Ear
6.4.1 The Ossicles
6.4.2 The Eustachian Tube
6.5 The Inner Ear
6.5.1 The Vestibular System
6.5.2 Bone Conduction
6.6 The Anatomy of the Cochlea
6.6.1 Cochlear Function
6.6.2 Cochlear Microphonics
6.6.3 The Coding of Auditory Signals
6.7 Auditory Impairment
6.7.1 Audiologists and Types of Hearing Loss
6.7.2 Conductive Hearing Loss
6.7.3 Otosclerosis
6.7.4 Sensorineural Hearing Loss
6.7.5 Aging or Presbycusis (Pres-be-q-sis)
6.7.6 Tinnitus (tin-NIGHT-us or TIN-it-tus)
6.7.7 Drugs
6.7.8 Very Loud Sounds
6.7.9 Nonorganic Hearing Loss
6.7.10 Hearing Aids
6.7.11 Implantable Hearing Devices
Chapter 7: Perception of Music
7.1 Aural Perception
7.2 The Physical Process
7.2.1 Nerve Cells
7.2.2 The Central Nervous System
7.2.3 Binaural Hearing
7.2.4 Brain Waves and Music
7.3 The Mental Process
7.3.1 Consonance and Dissonance
7.3.2 Intervals and Scales
7.3.3 Scale Construction
7.3.4 Temperament Systems
7.3.5 Summary
PART 3—Recording Sound
Chapter 8: History of Aural Recording
8.1 Recording Sound
8.1.1 Phonographs
8.1.2 Styli
8.1.3 Phono Cartridges
8.1.4 Magnetic Tape
8.1.5 Tape Formats
8.2 Analog versus Digital
8.2.1 Analog to Digital Conversion
8.2.2 Pulse Code Modulation
8.2.3 Digital Magnetic Recording
8.2.4 Compact Disc Technology
8.2.5 The Disc
8.3 MP3 Technology and Streaming
Chapter 9: Recording in the Digital Age
9.1 Benefits of Digital Audio
9.1.1 Listening Environment
9.1.2 Digital Audio Principles
9.1.3 Signal Flow
9.2 The Recording Process
9.2.1 Preproduction
9.2.2 Tracking
9.2.3 Overdubbing
9.2.4 Editing
9.2.5 Mixing
9.2.6 Mastering
9.2.7 Recording Techniques: Preparing to Record
9.3 Using a Microphone
9.3.1 Microphone Placement
9.3.2 Microphone Techniques for Vocalists
9.3.3 Microphone Techniques for Instrumentalists
9.3.4 Using Multiple Microphones
9.3.5 Stereo Microphone Techniques
9.3.6 Summary
9.4 Editing and Enhancing Performances
9.5 Microphone Reference Guide
9.6 Monitoring Systems
9.6.1 Monitor Speakers
9.7 Headphones
Chapter 10: Modern Production Effects
10.1 Effects in the Studio
10.1.1 Time-Based Effects versus Dynamic Processing Effects
10.2 What Is Reverb?
10.2.1 Reverb in Different Places
10.3 Delay
10.3.1 Delay versus Reverb
10.4 Other Time-Based Processing Effects
10.4.1 Chorus
10.4.2 Flanger
10.5 Dynamic Processing
10.5.1 Compression
10.5.2 Equalization
10.5.3 Subtractive EQ
10.5.4 Additive EQ
10.5.5 More EQ Techniques
10.6 Time-Based Effects Analysis Worksheet Explanation
PART 4—Analysis of Genre, Structure, and Form
Chapter 11: Genre and Instrumentation
11.1 Categorizing with Genre
11.1.1 Culture
11.1.2 Time Period and Age
11.1.3 Form
11.1.4 Rhythmic Patterns
11.1.5 Harmony
11.1.6 Instrumentation
11.2 Common Instruments in Many Genres
11.2.1 Voice
11.2.2 Guitar
11.2.3 Bass
11.2.4 Percussion
11.2.5 Keyboard Instruments
11.2.6 Winds
11.3 Genres
11.3.1 Classical
11.3.2 Ragtime
11.3.3 Blues
11.3.4 Jazz
11.3.5 Latin Jazz
11.3.6 Country
11.3.7 Protest Folk Music
11.3.8 Gospel
11.3.9 Swing
11.3.10 Soul
11.3.11 R&B
11.3.12 Rock
11.3.13 Electronic
Chapter 12: Form and Structure
12.1 Form
12.1.1 Form Elements
12.2 Pulse and Meter
12.2.1 Complexity in Meter
12.3 Phrases to Sections
12.3.1 Common Structures
12.4 Melody, Harmony, and Form
12.5 Formal Parts/Pieces
12.5.1 Review and Preview
Chapter 13: Analysis
13.1 Introduction to Analysis
13.2 Modern Musical Analysis
13.2.1 Compositional Levels (Albin J. Zak)
13.2.2 Form in Rock Music (John Covach)
13.2.3 Configuring the Sound Box (Ruth Dockwray and Allan F. Moore)
13.2.4 Considering Space (William Moylan)
13.2.5 Timbre as a Differentiation in Indie Music (David K. Blake)
13.2.6 Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music (Brad Osborn)
13.2.7 A System for Describing Vocal Timbre in Popular Song (Kate Heidemann)
13.3 Where to Start
13.4 Music
13.4.1 Lyrics
13.5 Visual Analysis Graph (Audio Timeliner)
13.6 Song Analysis Beyond Form
13.7 Analysis Projects
13.7.1 Form in Post-1965 Popular Music
13.7.2 Popular Music Analysis Project
13.7.3 Top Ten Song Analysis Project
CHANDLER BRIDGES, Ph.D., is an assistant professor at Jacobs School of Music, Indiana University, Bloomington, Indiana. He has also taught at Art Institute-Hollywood, The Los Angeles Film School, University of North Alabama in Muscle Shoals, and Florida State University. Chandler was born in Decatur, Georgia, and grew up in Atlanta playing classical, pop, and rock piano in numerous “garage bands” he started.
Chandler is a graduate of the Conservatory of Recording Arts and Sciences and has earned a BA and MA in commercial music, and a PhD in music education from Florida State University. He is also an AVID Certified Expert Instructor in Pro Tools. After college, he started his career at the legendary NRG recording studio in Los Angeles, where as an engineer he worked with producers T-Bone Burnett, Rodney Jerkins, Teddy Riley, and many others. Chandler has earned Recording Industry Association of America (RIAA)-certified platinum credits that include engineering or mixing for Aaliyah, Ruben Studdard, Johnny Mathis, P-Diddy, Jennifer Lopez, Hilary Duff, Julio Iglesias, Bette Midler, LeAnn Rimes, and many others.
Chandler is in demand as an engineer, mixer, technician, educator, and consultant providing technical services for Buena Vista Pictures, Sony pictures, and clients around the world. Additionally, Chandler is the co-owner and developer of Gauge Microphones, a voting member of the Grammy Organization, and an Eagle Scout. Outside of work Chandler enjoys spending time with his family, traveling, and playing tennis.
MICHAEL WAGNER, Ph.D., is a retired professor and director of music education and Fellow of the Florida International University Honors College, Miami, Florida. He was a pioneering and distinguished member of the faculty at Florida International University during thirty-one of its first thirty-two years of existence. This award-winning musician/teacher/researcher earned degrees from the State University of New York (SUNY) at Fredonia, Teachers College/Columbia University, and a doctorate at The Florida State University, with further graduate work in music and performance at both the Eastman and Juilliard Schools of Music. Before living in Florida, he was a member of the United States Military Academy Band at West Point, New York and later, a clarinet recitalist and concert performer. In the 1960s, he taught in the public schools of New York State and later was the college band and community orchestra director at the SUNY, Geneseo.
During the last few years of his teaching career, Dr. Wagner was an invited Fellow of the FIU Honors College. There, he taught a popular, yearlong course entitled, “Technology, the Leader of Humankind.”
His interests and rich experiences have allowed him to combine the areas of music, music technology, and classroom management for educators in unique and interesting ways. He is the author of two music education textbooks, many popular articles, and thirty-some research reports in the areas of music listening, teaching presentation style, and teacher time use. He has also written, produced, and directed several video presentations for use in music classes. However, his students are certainly his best legacy. They dot the worldwide education landscape, and continue his legacy . . . leading and improving the ever-evolving process of education.
His credentials include invitations to lecture about music and rehearsal technique, current technologies and classroom management in The Peoples’ Republic of China, Australia, Germany, Great Britain, Sweden, and within the Caribbean basin, in the Republic of the Bahamas, Haiti, Puerto Rico, and Jamaica. In his consulting practice, he has helped educators improve their teaching technique throughout the United States as well. As a former member of the US Army pistol team at West Point, and as a band director, Dr. Wagner is keenly aware of the hazards of too much sound.
Over the period of his career, he has developed substantial hearing loss and tinnitus. He is somewhat evangelical about communicating how precious is our ability to hear and to comprehend our aural environment