By Richard Parncutt

My first come upon with the speculation of concord was once in the course of my final yr in school (1975). This attention-grabbing approach of principles crystallized the intuitive wisdom of concord I had got from years of piano taking part in, and facilitated memorization, transcription, association and composition. For the subsequent 5 years, I studied track (piano) and technological know-how (Physics) on the Univer­ sity of Melbourne. This "strange mix" begun me considering in regards to the origins of these track concept "rules". To what quantity have been they decided or inspired via physics? arithmetic? body structure? conditioning? In 1981, the manager of my honours undertaking in musical acoustics, Neville Fletcher, confirmed me a piece of writing entitled "Pitch, consonance, and harmony", through a undeniable Ernst Terhardt of the Technical collage of Munich. by way of that level, I had gobbled a large amount of (largely unsatisfactory) fabric at the nature and origins of concord, which enabled me to acknowledge the importance of Terhardt's article. however it used to be no longer till I arrived in Munich the subsequent yr (on Terhardt's invitation) that i started to understand the conse­ quences of his "psychoacoustical" technique for the speculation of concord. that's what this e-book is ready. The ebook provides Terhardt's paintings opposed to the vast context of track notion study, previous and current. track belief is a multidisciplinary mix of physics, psychology and track. the place diverse theoretical ap­ proaches look contradictory, i attempt to convey as an alternative that they supplement and enhance each other.

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