This unique reference book offers a holistic description of the multifaceted field of systematic musicology, which is the study of music, its production and perception, and its cultural, historical and philosophical background. The seven sections reflect the main topics in this interdisciplinary subject. The first two parts discuss musical acoustics and signal processing, comprehensively describing the mathematical and physical fundamentals of musical sound generation and propagation. The complex interplay of physiology and psychology involved in sound and music perception is covered in the following sections, with a particular focus on psychoacoustics and the recently evolved research on embodied music cognition. In addition, a huge variety of technical applications for professional training, music composition and consumer electronics are presented. A section on music ethnology completes this comprehensive handbook. Music theory and philosophy of music are imbedded throughout. Carefully edited and written by internationally respected experts, it is an invaluable reference resource for professionals and graduate students alike.
Systematic Musicology: a historical interdisciplinary perspective. -
Part A: Musical Acoustics.- Vibrations and Waves. Wave in 2D and 3D.
Construction of Wooden Musical Instruments. Measurement Techniques.
Stringed Instruments. Modeling of Wind Instruments. Properties of the
Sound of Flue Organ Pipes. Percussion Musical Instruments. Musical
Instruments as Synchronized Systems. Room Acoustics. Part B: Signal
Processing. Music Studio Technology. Delay-Lines and Digital Waveguides.
Convolution, Fourier Analysis, Cross-correlation and their
interrelationship. Adaptive Musical Control of Time-Frequency
Representation. Audio Source Separation in a Musical Context.
Finite-Difference Schemes in Musical Acoustics. Wave Field Synthesis.
Optical Music Recognition. Real-time Signal Processing Applications on
Field Programmable Gate Arrays (FPGA). Part C: Music Psychology and
Physiology. Auditory Time Perception. Auditory Sensory Memory.
Long-term memory for music. Auditory Working Memory. Musical Syntax I:
Theoretical Perspectives. Musical Syntax II: Empirical Perspectives on
Syntactic Processing. Rhythm and Beat Perception. Music and Action.
Music and Emotions. Part D: Psychophysics and Psychoacoustics.
Fundamentals. Pitch and Pitch Perception. Perception of Timbre and Sound
colour. Sensation of sound intensity and perception of loudness. Part E:
Music Embodiment. - Embodied Music Cognition. Sonic Object Cognition.
Embodied music cognition for health and well-being. A conceptual framework
for music-based interaction systems. Methods for studying music-related
body motion. Part F: Music and Media. Content-based methods for knowledge
discorery in music. Hearing Aids and Musicians. Music Technology and
Education. Enabling Interactive and Interoperable Semantic Music
Applications. The relation between music technology and music industry.
Computational Ethnomusicology. Automatic music composition and singing
voice assessment. Digital Sensing of Musical Instruments. Part G: Music
Ethnology. Interaction between Systematic Musicology and Research on
Traditional Music. Analytical Ethnomusicology. Musical Systems of
Sub-Saharan Africa. Music among ethnic minorities in Southeast Asia.
Music Archaeology. The complex dynamics of improvisation. Music of
struggle and protest in the 20th century.
Musical Acoustics.- Physics.- Introduction: Ancient Musical Instruments.-
Organology.- Mathematical Foundation.- Stringed Instruments.- Reed
Instruments.- Flue Instruments.- Percussion Instruments.- Physical
Modelling.- Nonlinearities, Synchronization.- Room Acoustics.- Signal
Processing.- Introduction: From Electro to Electronic.- Spectrum, Filter,
Impulse Response.-Sound Synthesis Methods.- Amplification, Sound Systems.-
Delay-Lines, Waveguides.- Sound-Source Separation.- Automatic Score
Extraction.-Wavelets.- Autoregressive Spectrum, Linear Predictive Coding.-
Wavefield Synthesis.- Music Psychology.- Physiology.- Introduction: The
origin of music.- The inner and outer ear.- EEG, fMRI.- Auditory Pathway.-
Auditory Cortex.- Audition and Movement.- Audition and Vision.- Rhythm and
the Brain.- Emotion.- Binaural Hearing and Spaciousness.-
Perception/Action/Motivation.- Introduction: Mind Matter Music.-
Psychoacoustic Foundations.- Statistical Methods.- Timbre.- Loudness,
Roughness, Sharpness.- Pitch.- Melody, Texture, Form.- Rhythm.- Memory.-
Music Ethnology.- Traditional Music of the World.- Introduction: History of
Comparative Musicology and Ethnomusicology.- Europe.- Africa.- Middle Asia.-
Southeast Asia.- China.- North America.- Middle and South America.- The
Pacific.- Popular Music.- Introduction: History of Popular Music Studies.-
Jazz.- Rockn Roll, Beat.- Folk.- Jazzrock, Fusion.- Classic Rock.- World
Music.- Techno, Dance.- Hip-Hop.- Electro.- Music Theory.- Musical Texture.-
Introduction: Philosophy and System.- Riemann: Funktionsharmonik.- Schenker:
Ursatz.- Lerdal & Jackendoff: Generative Theory of Music.- Rhythm Theories.-
Tonal Systems.- Music and Gestalt.- Connectionism.- Semantics and Philosophy
of Music.- Introduction: Music in the Quadrivium.- Semiotik and Semantic of
Music.- Musical Gesture.- Music and Politics.- Music Sociology.- Music in
Film.- Music and Emotion.- Music and Time.- Music and Media.- Technology.-
Introduction: Tools to Music.- Music Content Systems.- Compositional Tools.-
VST-PlugIns.- Web Music.- Motion Capture.- Sensor Techniques.- DSP-Chips,
FPGA Hardware, Graphic Card Applications.- Applications.- Introduction: The
role of music in modern society.- Forensic Music Psychology.- Music
Industry.- Music and Marketing.- Multimedia Compositions.- Sound Design.-
Soundscapes.- Music with Hearing Aids.
Rolf Bader is professor for Systematic Musicology at the Institute of Systematic Musicology at the University of Hamburg, Germany. He studied Systematic Musicology, Physics, Ethnology and Historic Musicology at the University of Hamburg. There he obtained his PhD and habilitation on topics of Musical Acoustics, Music Psychology and Musical Signal Processing. He was a visiting scholar at the Center for Computer Music and Research (CCRMA) at Stanford University in 2005/2006. His major fields of research are Musical Acoustics and Musical Signal Processing, Musical Hardware and Software Development, Music Psychology and Neurocognition, Music Ethnology and Philosophy of Music. He is co-editor of the Springer series Current Research in Systematic Musicology. He published several books as an author, such as Nonlinearities and Synchronization in Musical Acoustics and Music Psychology or Computational Mechanics of the Classical Guitar. Additionally he edited Sound Perception Performance and Concepts, Experiments, and Fieldwork: Studies in Systematic Musicology and many contributing book chapters or peer-reviewed papers. He conducted fieldwork as an ethnomusicologist in Bali, Nepal, Thailand, Cambodia, Myanmar, Sri Lanka, China and India since 1999. He was also working as a professional musician, composer and artist, running recording studios, working as a music journalist, leading exhibitions and running a cinema.
