We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.
Andrew SegaRelated topics
century certain emotional example film giant given happy integer leaves loop middle music nice once point sad sound visual feedback fingerprintRelated quotes
...there is no point to musical analysis at all unless it is 'two-dimensional' – unless [...] one examines the music in terms of what I call its 'Background' (and this 'Background' is the sum total of the expectations which the composer creates) and its 'Foreground' (and its 'Foreground' is what he does instead). That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead...
Hans Keller
One thing I learned a long time ago was my fretboard, in terms of all the scales in all the positions...You have to learn it - there are no two ways about it. I shift between positions so easily now that I really don't have to think about them much...I would suggest starting your scale education with the major and minor scales, and after that, diminished, augmented and whole-tone. Then depending on what kind of music you want to play, the modes should be learned. My theory about this kind of thing is that you should learn it all. Once you've learned it you can play whatever you want to play, and I think that your playing will be more advanced, and you'll have a better understanding of the instrument.
Al Di Meola
This evolution toward noise-sound is only possible today. The ear of an eighteenth century man never could have withstood the discordant intensity of some of the chords produced by our orchestras (whose performers are three times as numerous); on the other hand our ears rejoice in it, for they are attuned to modern life, rich in all sorts of noises. But our ears far from being satisfied, keep asking for bigger acoustic sensations. However, musical sound is too restricted in the variety and the quality of its tones. Music marks time in this small circle and vainly tries to create a new variety of tones... We must break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise-sounds.
Luigi Russolo
Designed as a companion volume to the acclaimed Object-Oriented Analysis, this book focuses on the middle part of the software lifecycle: the activity of design. It shows readers how to apply object-oriented design, and how to tailor and expand the method to suit specific organization and project needs. Readers will explore the major issues in OOD; the role of OOD in the systems lifecycle; how to use graphical notation; strategies for creating design; and hints for evaluating the efficiency of a design created with OOD. For software engineers and other users undertaking real-world systems development projects and designing overall software architecture for systems will find this reference approach to improving systems design indispensable.
Ed Yourdon
Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism-a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences.
Arnold Hauser