Meditations on a interest Horse

Meditations on a Hobby Horse

Meditations on a Hobby Horse

One of the quirks of the annals of music theory is that expansion in our understanding of sound perception frequently travel on the back of former discoveries in the realm of vision. The ear scrounges from the eye. Ahistorical sketch, employed rearwards, would start with the influence of David Marr's work on connectionist forms of visual insight upon music theorists such as Jamshed Bharucha and RobertO. Gjerdingen. Moving to the mid-century, the impact of Gestalt psychology can be traced not only to the theories of Leonard Meyer, but also to Lehrdal and Jackendoff's generative model of tonal structure. Earlier still, it is a detail that Helmholtz's epoch-making On the feelings of pitch was consequent upon his research on the physiology of the eye. The priority of dream over sight is even apparent at the dawn of music psychology, in the pedagogical theories of A.B. Marx. Marx's compositional treatise, pass away Lehre von der Musikalische Komposition (1837) concerns courses discovered from an earlier custom of drawing manuals. The Swiss pedagogue Johann Pestalozzi's A B C der Anschauung (1803) instructed young kids in how to glimpse more clearly by educating them to draw prime geometric types, such as squares, lines and arcs. By internalizing visual schemata, young kids discovered to see an order in the world. Ascholar in Marx's school would internalise analogous melodious schemata, namely the Satz, Gang, and Periode. Gombrich presumes that Leonardo da Vinci's dissatisfaction with his art was due to his realization that "all the artist's knowledge and inanimation are of no avail, it is only a picture that he has been painting, and it will lock flat." Throughout annals artists have wise more from tradition, studying other paintings, making discoveries of appearances, than making ...