4/12/2023 0 Comments Dulce amargo dulce maria pdf![]() Our results showed that, even in free improvisation, taste words elicited very reliable and consistent musical patterns: `bitter' improvisations are low-pitched and legato (without interruption between notes), `salty' improvisations are staccato (notes sharply detached from each other), `sour' improvisations are high-pitched and dissonant, and `sweet' improvisations are consonant, slow, and soft. ![]() ![]() Here we investigated whether taste words elicited consistent musical representations by asking trained musicians to improvise on the basis of the four canonical taste words: sweet, sour, bitter, and salty. In line with this tradition of describing musical concepts in terms of taste words, recent empirical studies have found reliable associations between taste perception and low-level sound and musical parameters, like pitch and phonetic features. Hector Berlioz, in his Treatise on Modern Instrumentation and Orchestra- tion (London: Novello, 1855), speaks about the `small acid-sweet voice' of the oboe. Zarlino, one of the most important music theorists of the XVI century, described the minor consonances as `sweet' (dolci) and `soft' (soavi) (Zarlino 1558/1983, in On the Modes New Haven, CT: Yale University Press, 1983).
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