The psychophysical ear : musical experiments, experimental sounds, 1840-1910 / Alexandra Hui.
Språk: Engelska Serie: Transformations : studies in the history of science and technologyUtgivning: Cambridge, Mass. MIT Press, c2013Beskrivning: xxii, 233 s. ill., musiknoter 24 cmISBN:- 9780262018388
- 1800-talet
- Psykofysik
- Musikestetik
- Psychoacoustics -- History -- 19th century
- Psychoacoustics -- History -- 20th century
- Sound -- Experiments -- History -- 19th century
- Sound -- Experiments -- History -- 20th century
- Avant-garde (Music) -- History -- 19th century
- Avant-garde (Music) -- History -- 20th century
- Experimentell musik -- historia
- Auditiv perception -- historia
- Psykoakustik -- historia
- Tyskland
- Österrike
- 781.17 23/swe
- QP461
- Ij:df
- Ij:do
- Dodb
Innehåll:
Gustav Fechner, the day view and the origins of psychophysics ; From sonically moving forms to inaudible undertones: the new musical aesthetics of A. B. Marx, Eduard Hanslick and Hugo Riemann ; Sound materialized and music reconciled: Hermann Helmholtz ; The aesthetics of attention: Ernst Mach's accommodation experiments, his psychophysical musical aesthetics and his friendship with Eduard Kulke ; The bias of musikbewusstsein when listening in the laboratory, on the city streets and in the field
| Exemplartyp | Aktuellt bibliotek | Hyllsignatur | Del av materialet som avses | Ex.nummer | Status | Förfallodatum | Streckkod | Exemplarreservationer | |
|---|---|---|---|---|---|---|---|---|---|
| Bok | Musik- och teaterbiblioteket Magasin A | B29.502 | 1 | Tillgänglig | 26201834381 |
Antal reservationer: 0
Innehåller bibliografi och index
Gustav Fechner, the day view and the origins of psychophysics ; From sonically moving forms to inaudible undertones: the new musical aesthetics of A. B. Marx, Eduard Hanslick and Hugo Riemann ; Sound materialized and music reconciled: Hermann Helmholtz ; The aesthetics of attention: Ernst Mach's accommodation experiments, his psychophysical musical aesthetics and his friendship with Eduard Kulke ; The bias of musikbewusstsein when listening in the laboratory, on the city streets and in the field