Duke University - Music as Biology: What We Like to Hear and Why
- Offered byCoursera
Music as Biology: What We Like to Hear and Why at Coursera Overview
Duration | 17 hours |
Total fee | Free |
Mode of learning | Online |
Official Website | Explore Free Course  |
Credential | Certificate |
Music as Biology: What We Like to Hear and Why at Coursera Highlights
- Shareable Certificate Earn a Certificate upon completion
- 100% online Start instantly and learn at your own schedule.
- Flexible deadlines Reset deadlines in accordance to your schedule.
- Approx. 17 hours to complete
- English Subtitles: Arabic, French, Portuguese (European), Italian, Vietnamese, German, Russian, English, Spanish
Music as Biology: What We Like to Hear and Why at Coursera Course details
- The course will explore the tone combinations that humans consider consonant or dissonant, the scales we use, and the emotions music elicits, all of which provide a rich set of data for exploring music and auditory aesthetics in a biological framework. Analyses of speech and musical databases are consistent with the idea that the chromatic scale (the set of tones used by humans to create music), consonance and dissonance, worldwide preferences for a few dozen scales from the billions that are possible, and the emotions elicited by music in different cultures all stem from the relative similarity of musical tonalities and the characteristics of voiced (tonal) speech. Like the phenomenology of visual perception, these aspects of auditory perception appear to have arisen from the need to contend with sensory stimuli that are inherently unable to specify their physical sources, leading to the evolution of a common strategy to deal with this fundamental challenge.
Music as Biology: What We Like to Hear and Why at Coursera Curriculum
Course Introduction
Welcome to Music as Biology
A Word About the Course
Organization of the Auditory System
Sound Signals and Sound Stimuli
Tones versus Noise
Determining the Sources of Sound Stimuli
Module Resources
An Overview of the Human Auditory System
Sound Signals, Sound Stimuli, and the Human Auditory System
The Perception of Sound Stimuli
Loudness and Intensity
Pitch and Frequency
Timbre and its Causes
Observation and Linguistics
Auditory Objects and Scenes
Module Resources
The Perception of Sound Stimuli
Vocalization and Vocal Tones
The Production of Vocal Sound Signals
The Perception of Vocal Sound Signals
The Perception of Intensity (Loudness) in Empirical Terms
The Perception of Frequency (Pitch) in Empirical Terms
Relationship of Vocalization to Music
Module Resources
Vocalization and Vocal Tones
Defining Music and Exploring Why We Like It
Defining Music
The Chromatic Scale and Some More Musical Terminology
Consonance and Dissonance
Tonality vs. Atonality: Frequency of Consonant vs. Dissonant Intervals
Tension and Resolution
Cadences
Mathematical Explanations of Consonance
A Physical Explanation of Consonance
A Biological Explanation of Consonance
Module Resources
Defining Music and Exploring Why We Like It
Musical Scales
Defining Scales and Modes
The Small Number of Scales Used
Testing a Biological Explanation of Scale Preference
Why Is the Number of Intervals in Scales So Limited?
The Status of the Chromatic Scale and the Semitone in Biological Terms
Is Music Uniquely Human?
Module Resources
Musical Scales
Music, Emotion, and Cultural Differences
Introduction to Emotion
Emotions Elicited by Major versus Minor Scales
Comparision of Major and Minor Music with Vocalization in Different Emotional States
Expression of Emotion in Eastern and Western Music
Language, Speech, and Cultural Differences in Music
Mbira Music: Background and Cyclical Structures
Mbria Music: Nonhamronic Frequencies
Module Resources
Mozart Variation 8, "Minor"
Mozart Variation 9, "Major"
Music, Emotion, and Cultural Differences
Summing Up
Mozart: Twinkle Twinkle Little Star
Derivations of the Harmonic and Melodic Minor Scales
Cadences
Berg Lieder
Background and Cyclical Structure
Nonharmonic Frequencies
Mozart Theme
Mozart Variation 2, ornamentation
Mozart Variation 5, rhythmic sync
Mozart Variation 8, "Minor"
Mozart Variation 9, "Major"
Minor Scale Analysis in BWV 002
Music Theory Rules
BWV 002 Harmonic Analysis
BWV 65.2 Harmonic Analysis
BWV 133.6 Harmonic Analysis
Schliesse Mir Die Augen Beide
Tonal Version Sheet Music
Atonal Version Sheet Music
Glossary A-O
Glossary P-W
Bibliography
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