|Music||Organized Sound||Movement/Yoga||Mechanotransduction||Emotion - organized felt-sense from the body
|The setting up and manipulation of expectations||ECS|
|Tone||discrete musical sound||load of gravity, it's "pull"||perception||Photon|
|Interval||Distance between two tones||Tractioning/Friction or
Tension & Release or
|Pitch||psychological construct based on actual frequency & relative position in the musical scale||Pose||Tissues||sensation||Color|
|rate or frequency of vibration||a snapshot of where your body is in space, or a held pose|
|primary ways of conveying emotion in a song||External pressures (sensation)|
|Contour||shape of a melody||Quality of shape used within a pose or exercise.||Shape of body - response of our physical self to physical world|
|Timbre||Quality of sound comprised of overtone profile that distinguishes from one instrument from another (acoustic, vs. electric)||Efficiency of the funneling of gravity within a pose||Quality or success of mechnotransduction - our response to the physical world through push of muscles and pull of blood||Emotions||Color & Shading|
|Blood / circulation||Digital vs. a painting|
|Melody||pattern of pitches or their relationships (intervals) between one another and across time||felt sense of the rate or frequency of the tissues in the body (pitch), used to negotiate movement||Organ systems||Identity, Me Story, Ego|
|management of expectations in music|
|Scale||Basis of constructing melodies||Organs|
|Chord||3 or more notes played at the same time and are chosen to convey which scale they came from||Engagement, execution of muscles, bones and joints to produce movement by the body, Kinesthesis|
|Are chosen to convey which scale they came from|
|Overtone series||Patterns of energy, rates of frequency of objects ni the natural world, that relate mathematically as interger multiples of each other||Whole body/ movement continuously moving, kinesthesis||ECS|
|Songs/Compostional,Works||One's shape is the,autobiographical composition of the choices one has made in response to gravity||Painting|
|Rhythm||durations of a series of notes||Chunks of poses (Sun Salutes)||Flow of energy to maintain organization|
|Tempo||Overall speed of the piece||Pace|
|Loudness||physical amplitude of tone||Sthira/suhka (strength/ease)||Physical quality of force/ endurance|
|Spatial Location||where sound is coming from||Proprioception - the process by which an individual can sense their body’s location in space, and regulate the application of muscular strength.||Tractioning/Frictions|
|Reverb||perception of how distant sound source is|
|Division of frequency, 2:1 or 1:2 ratio||8 Limbs of Yoga (ethical code)|
|Frequency||Rate at which an object's molecules vibrate|
- Tone (note) : discrete musical sound
- Pitch: psychological construct based on actual frequency & relative position in the musical scale (color)
- Scale : subset of theoretical infinite pitches. Cultures select these based on tradition. Set of pitches chosen to be distinguishable fro each other and used as basis for constructing melodies. Code of what’s “legal”. Legal pitches are ones that vibrate at levels accepted within a society or culture. E.g. Western music. Instruments are designed or musicians learn how to hear and produce the acceptable rates of frequency, aka pitches.
- Rhythm: durations of a series of notes
- Tempo: Overall speed of the piece
- Contour: shape of a melody
- Interval - distance between to tones - defines melodies
- Timbre: Quality of sound comprised of overtone profile that distinguishes from one instrument from another
- Loudness: physical amplitude of tone
- Spatial Location: where sound is coming from
- Reverb: perception of how distant sound source is
- Tuning - Precise relationship between a standard frequency and the tone being played. Synchronization of frequencies (Sharp is rate “up” flat is rate “down”)
We sense this data and our brains then organize and interpret sounds into higher levels concepts the way that a painter arranges lines into forms.
- Meter - rhythm & loudness cues, the way tones are grouped together across time. (waltzes: 3, march: 2)
- Key - Mental schema that assigns hierarchy to tones in a piece. this hierarchy only exists in our minds as a function of experiences as we develop understanding for music. (Changing your perception after going through a spell of suffering, is like a key change).
- Melody - Pattern of pitch or successive relations of pitch across time. The personality or theme of a piece, (the ego), succession of tones that stand out the most. . (Composers can playing manipulate, and so can people. Which melody are you signing to the world? Is it a pleasing one, one you are happy and proud of? If not, why not? May it be full of tension an release, and not monotone and boring. Have lots of changes in loudness and key, and to resolve perfectly). Also, how is your instrument tuned to play out this melody to the world.
- Harmony: the way different tones relate, and the context os those relationships. These set up expectations for what comes next in a melody. (Chord progression).
When we listen to music, we are actually perceiving multiple dimensions simultaneously. Each exists separately and can be studied independently without altering the others. This is why we can think of as dimensions.
Octave - frequency ratio of 2:1 or 1:2 that spans cultures as basis of music
Each note in our system is about 6% more than one previous, our auditory system responds to relative and proportional changes in sound. This proportional changes is why we have scales based that way
Perfect 4th & 5th intervals have been the backbone of music for at least 5000 years.