Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific r...
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ftfrontimediafig:oai:figshare.com:article/11864928 2023-05-15T15:18:25+02:00 Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip Aleksey Nikolsky Eduard Alekseyev Ivan Alekseev Varvara Dyakonova 2020-02-18T10:56:30Z https://doi.org/10.3389/fpsyg.2019.03051.s006 https://figshare.com/articles/Presentation_3_The_Overlooked_Tradition_of_Personal_Music_and_Its_Place_in_the_Evolution_of_Music_zip/11864928 unknown doi:10.3389/fpsyg.2019.03051.s006 https://figshare.com/articles/Presentation_3_The_Overlooked_Tradition_of_Personal_Music_and_Its_Place_in_the_Evolution_of_Music_zip/11864928 CC BY 4.0 CC-BY Applied Psychology Clinical Psychology Developmental and Educational Psychology Neuroscience and Physiological Psychology Organizational Behavioral Psychology Personality Social and Criminal Psychology Gender Psychology Health Clinical and Counselling Psychology Industrial and Organisational Psychology Psychology not elsewhere classified Psychology and Cognitive Sciences not elsewhere classified timbre-based music personal song Jaw harp (aka Jew's harp) musicality arctic hysteria music evolution thematicism musical texture Text Presentation 2020 ftfrontimediafig https://doi.org/10.3389/fpsyg.2019.03051.s006 2020-02-19T23:51:45Z This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. Much of the data has not been translated into Western languages. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through ... Conference Object Arctic Frontiers: Figshare Arctic |
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Frontiers: Figshare |
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topic |
Applied Psychology Clinical Psychology Developmental and Educational Psychology Neuroscience and Physiological Psychology Organizational Behavioral Psychology Personality Social and Criminal Psychology Gender Psychology Health Clinical and Counselling Psychology Industrial and Organisational Psychology Psychology not elsewhere classified Psychology and Cognitive Sciences not elsewhere classified timbre-based music personal song Jaw harp (aka Jew's harp) musicality arctic hysteria music evolution thematicism musical texture |
spellingShingle |
Applied Psychology Clinical Psychology Developmental and Educational Psychology Neuroscience and Physiological Psychology Organizational Behavioral Psychology Personality Social and Criminal Psychology Gender Psychology Health Clinical and Counselling Psychology Industrial and Organisational Psychology Psychology not elsewhere classified Psychology and Cognitive Sciences not elsewhere classified timbre-based music personal song Jaw harp (aka Jew's harp) musicality arctic hysteria music evolution thematicism musical texture Aleksey Nikolsky Eduard Alekseyev Ivan Alekseev Varvara Dyakonova Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
topic_facet |
Applied Psychology Clinical Psychology Developmental and Educational Psychology Neuroscience and Physiological Psychology Organizational Behavioral Psychology Personality Social and Criminal Psychology Gender Psychology Health Clinical and Counselling Psychology Industrial and Organisational Psychology Psychology not elsewhere classified Psychology and Cognitive Sciences not elsewhere classified timbre-based music personal song Jaw harp (aka Jew's harp) musicality arctic hysteria music evolution thematicism musical texture |
description |
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. Much of the data has not been translated into Western languages. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through ... |
format |
Conference Object |
author |
Aleksey Nikolsky Eduard Alekseyev Ivan Alekseev Varvara Dyakonova |
author_facet |
Aleksey Nikolsky Eduard Alekseyev Ivan Alekseev Varvara Dyakonova |
author_sort |
Aleksey Nikolsky |
title |
Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
title_short |
Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
title_full |
Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
title_fullStr |
Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
title_full_unstemmed |
Presentation_3_The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.zip |
title_sort |
presentation_3_the overlooked tradition of “personal music” and its place in the evolution of music.zip |
publishDate |
2020 |
url |
https://doi.org/10.3389/fpsyg.2019.03051.s006 https://figshare.com/articles/Presentation_3_The_Overlooked_Tradition_of_Personal_Music_and_Its_Place_in_the_Evolution_of_Music_zip/11864928 |
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geographic_facet |
Arctic |
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doi:10.3389/fpsyg.2019.03051.s006 https://figshare.com/articles/Presentation_3_The_Overlooked_Tradition_of_Personal_Music_and_Its_Place_in_the_Evolution_of_Music_zip/11864928 |
op_rights |
CC BY 4.0 |
op_rightsnorm |
CC-BY |
op_doi |
https://doi.org/10.3389/fpsyg.2019.03051.s006 |
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1766348621652951040 |