No description available.

No description available.

No description available.

Musical imagery is defined as the conscious 'inner hearing' of a mental representation of music. In spite of the apparent importance of imagery for musical activity, there is a dearth of empirical knowledge on the subject, due in part to its essentially private and internal nature. Psychological methods of examining the phenomenon are necessarily restricted to indirect research techniques. This thesis explores the intuition that musical imagery is central to musical thought, through an exploration of its occurrence and its character in a variety of musical activities. Three categories of musical imagery are described. First, musical imagery can occur unintentionally - the phenomenon often called 'tune on the brain'. Second, musical imagery may be an involuntary consequence of musical activity. Finally, imagery may be intentional, as in the ‘silent' analysis of musical score. The studies reported progress from unintentional to intentional imagery, combining a variety of methods in increasingly specialised musical contexts to investigate the relationship between imagery and perception. The subject is approached through theoretical discussion, a sampling study, experiments, fieldwork, and interviews with expert musicians. It is argued that musical imagery and perception are separable but mutually dependent cognitive phenomena. The results highlight a shifting relationship between perception and imagery depending upon the contextual factors of image intentionality and musical task. Evidence is provided for the prevalence of 'tune on the brain' episodes in everyday life. The veridicality of imagery for different musical dimensions is also explored, with the experiment finding that tirnbre is a less stable component of musical imagery than timing and pitch. Musical imagery is described as situated between the subconscious influence of mental representations during the pure perception of music, and the rare occurrence of eidetic imagery.

The legend that Terpander rejected "four-voiced song" (τετράγηρυν ἀοιδάν) in favor of new songs on the seven-stringed lyre (ἐπτατονος φὸρμιγξ) epitomizes the Greek exposure, at the height of Assyrian power (c. 750-650 B.C.), to the Mesopotamian tradition of classical music. Terpander's `invention' answers clearly to the heptatony which was widely practiced in the ancient Near East, as known from the diatonic tuning system documented in the cuneiform musical tablets. "Four-voiced song" describes the traditional melodic practice of the Greek epic singer, and must be understood in terms of its inheritance from the Indo-European poetic art. The syncretism of these two music-streams may be deduced from the evidence of the later Greek theorists and musicographers. Though diatonic scales were also known in Greece, even the late theorists remembered that pride of place had been given in the Classical period to other forms of heptatony-the chromatic and enharmonic genera, tone-structures which cannot be established solely through the resonant intervals of the diatonic method. Nevertheless, these tunings were consistently seen as modifications of the diatonic-which Aristoxenus believed to be the `oldest and most natural' of the genera-and were required to conform to minimum conditions of diatony. Thus the Greek structures represent the overlay of native musical inflections on a borrowed diatonic substrate, and the creation of a distinctly Hellenized form of heptatonic music. More specific points of contact are found in the string nomenclatures, which in both traditions were arranged to emphasize a central string. There is extensive Greek evidence relating this `epicentric' structure to musical function, with the middle string acting as a type of tonal center of constant pitch, while the other strings could change from tuning to tuning. So too in the Mesopotamian system the central string remained constant throughout the diatonic tuning cycle. Hence the melic revolution of the Archaic period represents the fruit of an Assyrianizing, diatonicizing musical movement.

No description available.

No description available.

This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

No description available.

No description available.