100:, there is little dispute about the principal constituent elements of music, though experts differ on their precise definitions. Harold Owen bases his list on the qualities of sound: pitch, timbre, intensity, and duration while John Castellini excludes duration. Gordon C. Bruner II follows the line of temporal-based deductions in association with musical composition, denoting music's primary components as "time, pitch, and texture." Most definitions of music include a reference to sound and sound perception can be divided into six cognitive processes. They are:
209:
38:
245:, where a masked trio silently mimes playing instruments. In this example sound, a common element, is excluded, while gesture, a less common element, is given primacy. However Nattiez goes on to say that despite special cases where sound is not immediately obvious (because it is heard in the mind): "sound is a minimal condition of the musical fact".
276:
Kenneth
Gourlay describes how, since different cultures include different elements in their definitions of music, dance, and related concepts, translation of the words for these activities may split or combine them, citing Nigerian musicologist Chinyere Nwachukwu's definition of the Igbo term "nkwa"
157:
Meyer lists melody, rhythm, timbre, harmony, "and the like" as principal elements of music, while
Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". According to McClellan, two things should be considered, the quality or state of an
272:
One aspect that is important to bear in mind when examining multi-cultural associations is that an
English-language word (i.e. the word "music"), not a universal concept, is the object of scrutiny. For this reason it is important to approach apparently equivalent words in other languages with
273:
caution. Based on the many disparate definitions that can be found just in
English language dictionaries,) it seems there is no agreement on what the word "music" means in English, let alone determining a potentially equivalent word from another culture.
231:, at least for trained musicians, involves a process, called "inner hearing" or "audiation", where the music is heard in the mind as if it were being played. This suggests that while sound is often considered a required aspect of music, it might not be.
257:, as well as whether the concept of music is universal. This debate often hinges on definitions. For instance, the fairly common assertion that "tonality" is a universal of all music may necessarily require an expansive definition of tonality. A
226:
Some definitions refer to music as a score, or a composition: music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of
135:
compares distinguishing parameters within a culture by their different constraints to distinguishing independent parameters within music, such as melody, harmony, timbre, "etc." The first person to apply the term
762:, edited by Jennifer Rosevear and Susan Harding, 22–28. Parkville, Victoria: The Australian Society for Music Education Inc. (Paper presented at: Music: Educating for life: ASME XXth National Conference).
1101:
Oxforddictionaries.com (2015) " The written or printed signs representing vocal or instrumental sound; The score or scores of a musical composition or compositions". Retrieved 1 December 2015, from
277:
as an activity combining and/or requiring singing, playing musical instruments, and dancing. He then concludes that there exists "nonuniversality of music and the universality of nonmusic".
269:
performance. Harwood questions whether a "cross-cultural musical universal" may be found in the music or in the making of music, including performance, hearing, conception, and education.
52:
by considering a variety of its elements, or parts (aspects, characteristics, features), individually or together. A commonly used list of the main elements includes
237:
points out that "any element belonging to the total musical fact can be isolated, or taken as a strategic variable of musical production." Nattiez gives as examples
261:
is sometimes taken as a universal, yet there exist solo vocal and instrumental genres with free and improvisational rhythm—no regular pulse—one example being the
973:. Studies in the Criticism and Theory of Music. Philadelphia: University of Pennsylvania Press. Reprinted, Chicago: University of Chicago Press, 1996.
1227:
219:
Does the definition of music determine its aspects, or does the combination of certain aspects determine the definition of music? For example,
174:. Near the end of the twentieth century music scholarship began to give more attention to social and physical elements of music. For example:
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proposed a theoretical research model that assumes three aspects are always present in musical activity: concept, behaviour, and sound.
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American
National Standards Institute, "American National Psychoacoustical Terminology". : American Standards Association
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1066:
Nattiez, Jean-Jacques (2012). "Is the Search for
Universals Incompatible with the Study of Cultural Specificity?"
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lists the "raw materials" of music in order of their supposed discovery: rhythm, melody, and harmony; including
31:
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1152:, revised edition, with a new chapter by Anthony Payne. London: Stainer & Bell; New York: Galliard.
1135:, new edition, translated from the Latin edition of 1539 by John Trowell. Aberystwyth: Boethius Press.
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1042:
1004:, edited by Martin Clayton, Byron Dueck, and Laura Leante, 40–61. New York: Oxford University Press.
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Moran, Nikki (2013). "Social Co-Regulation and
Communication in North Indian Duo Performances". In
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Structure of Music: A Listener's Guide: A Study of Music in Terms of Melody and Counterpoint
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Gourlay, Kenneth (1984). "The Non-Universality of Music and the
Universality of Non-Music”.
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Harwood, Dane (1976). "Universals in Music: A Perspective from
Cognitive Psychology".
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Burton, Russell L. (2015). "The Elements of Music: What Are They, and Who Cares?" In
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131:) separately from other elements or focused on separately in an educational context.
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is gradual change within one parameter, or an overlapping of two blocks of sound.
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Dictionary.com (2015b). the definition of sound. Retrieved 2 December 2015, from
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Dictionary.com (2015a). the definition of music. Retrieved 1 December 2015, from
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234:
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Notation indicating differing pitch, dynamics, articulation, and instrumentation
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Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer
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Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe
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https://www.google.com.au/?gws_rd=ssl#safe=strict&q=music+definition
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1079:. Unpublished M.A. Thesis. The Queen’s University of Belfast, 1981.
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36:
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Gordon, E. E. (1999). "All About Audiation and Music Aptitudes".
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262:
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Molino, J. (1975). "Fait musical et sémiologue de la musique".
832:
Google.com.au (2015). Google. Retrieved 1 December 2015, from
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253:
There is disagreement about whether some aspects of music are
903:
Who Needs Classical Music?: Cultural Choice and Musical Value
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Aspects of Teaching Secondary Music: Perspectives on Practice
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461:
459:
1103:
http://www.oxforddictionaries.com/definition/english/music
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The Healing Forces of Music: History, Theory, and Practice
1167:, second edition. Englewood Cliffs, NJ: Prentice-Hall.
285:
Other terms used to discuss particular pieces include:
874:. Cambridge and New York: Cambridge University Press.
644:
127:
A 'parameter' is any element that can be manipulated (
30:"Element (music)" redirects here. For other uses, see
223:
list aspects or elements that make up their subject.
797:
Frames of Mind: The Theory of Multiple Intelligences
748:
Collins English Dictionary – Complete and Unabridged
494:
1077:Taxonomy of Musical Instruments in Mbaise, Nigeria
1163:Ottman, Robert W., and Frank D. Mainous (2000).
1088:. Oxford and New York: Oxford University Press.
1053:(1987). New Jersey: Princeton University Press.
1047:Music and Discourse: Toward a Semiology of Music
905:. Oxford and New York: Oxford University Press.
1182:. Englewood Cliffs, New Jersey: Prentice-Hall.
1148:Macpherson, Stewart, and Anthony Payne (1970).
632:
477:
146:, though its relative popularity may be due to
971:Style and Music: Theory, History, and Ideology
746:Anon. (1991, 1994, 1998, 2000, 2003) "Music".
1221:
465:
8:
786:http://dictionary.reference.com/browse/sound
778:http://dictionary.reference.com/browse/music
316:For a more comprehensive list of terms see:
1112:(1957). "Introduction" to Robert Erickson.
1002:Experience and Meaning in Music Performance
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1214:
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939:. Evanston: Northwestern University Press.
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954:Explaining Music: Essays and Explorations
760:ASME XXth National Conference Proceedings
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510:Anon. & 1991, 1994, 1998, 2000, 2003
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424:Ii, Gordon C. Bruner (October 1990).
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1049:, translated by Carolyn Abbate from
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750:. Retrieved November 30, 2015 from
302:of notes heard as some sort of unit
1051:Musicologie générale et sémiologue
158:element and its change over time.
25:
944:Merriam-webster.com (2015). music
1068:Humanities and Social Sciences
1:
956:. University of California.
426:"Music, Mood, and Marketing"
918:McClellan, Randall (2000).
771:. New York: W. W. Norton. .
645:Oxforddictionaries.com 2015
27:Ingredients that form music
18:The six symmetries of music
1365:
1116:. New York: Noonday Press.
1086:Music Theory Resource Book
969:Meyer, Leonard B. (1989).
201:
29:
1307:
1243:
937:The Anthropology of Music
815:. Quoted in Gary Spruce,
799:. New York: Basic Books.
767:Castellini, John (1962).
308:—a succession of chords (
1025:Narmour, Eugene (1988).
901:Johnson, Julian (2002).
856:26, no. 2 (1984): 25–39.
495:Merriam-webster.com 2015
1310:List of music theorists
1178:White, John D. (1976).
935:Merriam, Alan P. 1964.
844:Music Educators Journal
310:simultaneity succession
221:intensional definitions
142:to music may have been
80:may be compared to the
1150:The Rudiments of Music
1133:The Rudiments of Music
1075:Nwachukwu, C. (1981).
267:Indian classical music
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42:
1201:The Elements of Music
1180:The Analysis of Music
1084:Owen, Harold (2000).
1043:Nattiez, Jean-Jacques
211:
92:Selection of elements
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633:Dictionary.com 2015a
478:Dictionary.com 2015b
430:Journal of Marketing
1344:Philosophy of music
1339:Musical composition
870:Grant, M J (2005).
847:(September): 41–44.
819:. Routledge, 2003.
349:Philosophy of music
344:Permutation (music)
213:Circular definition
204:Definition of music
198:Definition of music
148:Werner Meyer-Eppler
1165:Rudiments of Music
891:20, no. 3:521–533.
854:The World of Music
769:Rudiments of Music
466:Google.com.au 2015
217:
144:Joseph Schillinger
43:
1329:Elements of music
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1188:978-0-13-033233-2
1173:978-0-13-783671-0
1158:978-0-85249-010-5
1035:978-0-918728-94-4
1018:978-0-19-981132-8
1010:978-0-19-981131-1
979:978-0-226-52152-7
962:978-0-520-02216-4
928:978-0-595-00665-6
880:978-0-521-61992-9
825:978-1-134-50865-5
813:978-0-465-02509-1
805:978-0-465-02508-4
306:Chord progression
78:elements of music
16:(Redirected from
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669:Molino 1975
657:Gordon 1999
522:Burton 2015
364:Set (music)
281:Other terms
235:Jean Molino
176:performance
1323:Categories
1294:Set theory
1289:Psychology
1284:Philosophy
1279:Musicology
1268:Definition
1248:Aesthetics
618:Moran 2013
558:Meyer 1973
546:Grant 2005
534:Meyer 1989
375:References
1349:Serialism
992:Cited in
893:Cited in
858:Cited in
400:Owen 2000
369:Sound art
359:Serialism
255:universal
152:Gradation
139:parameter
1253:Analysis
1131:(1991).
1045:(1990).
1020:(ebook).
952:(1973).
795:(1983).
596:, 32–33.
548:, 62n85.
536:, 21n44.
524:, 22–28.
323:See also
243:Con Voce
129:composed
110:loudness
106:duration
70:duration
50:analysed
1258:Aspects
739:Sources
450:1251762
192:theatre
62:texture
48:can be
1299:Tuning
1186:
1171:
1156:
1139:
1092:
1057:
1033:
1016:
1008:
977:
960:
926:
909:
878:
823:
811:
803:
707:, 522.
608:, vii.
584:, 142.
572:, 326.
448:
390:, 104.
190:, and
184:gender
180:social
114:timbre
86:design
76:. The
72:, and
66:volume
58:timbre
731:, 35.
719:, 59.
695:, 62.
683:, 43.
671:, 43.
620:, 59.
446:JSTOR
296:Chord
259:pulse
188:dance
102:pitch
54:pitch
46:Music
1184:ISBN
1169:ISBN
1154:ISBN
1137:ISBN
1090:ISBN
1055:ISBN
1031:ISBN
1014:ISBN
1006:ISBN
975:ISBN
958:ISBN
924:ISBN
907:ISBN
876:ISBN
862:and
821:ISBN
809:ISBN
801:ISBN
560:, 9.
414:, 4.
402:, 6.
290:Note
263:alap
170:and
120:and
74:form
438:doi
298:—a
241:'s
84:or
1325::
1012:;
807:;
625:^
502:^
485:^
458:^
444:.
434:54
432:.
428:.
194:.
186:,
182:,
178:,
150:.
124:.
116:,
112:,
108:,
104:,
88:.
68:,
64:,
60:,
56:,
1229:e
1222:t
1215:v
1190:.
1175:.
1160:.
1096:.
1061:.
1037:.
996:.
981:.
964:.
930:.
913:.
897:.
882:.
836:.
827:.
659:.
647:.
635:.
512:.
497:.
480:.
468:.
452:.
440::
312:)
34:.
20:)
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