Page 72 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 20, zvezek 40 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, volume 20, issue 40

a) horizontal
b) vertical
e2
e1
e2
e1
ascending contour descending contour arch-shaped contour U-shaped contour
Putting three events simultaneously (Figure 3), a chord is obtained, often
defined as harmony. 9
Figure 3
Chord (harmony)
7

(silence)
Similarly to interval,
(silence) glasbenopedagoški zbornik ◆ letnik/volume 20 ◆ številka/number 40 – pitch is essential to the creation of contour and harmony, and
pitch can be defined for each event in contour and harmony.
–
onset offset onset offset
Thus, both contour and harmony can be viewed as ‘values’ in the ‘domain’
of pitch from this perspective.
Colour is a quality of sound produced:
– only if there is a particular musical source (e.g. instrument or human
voice), and
11
10
– is obtained by combining different sound waves.
As the colour of a sound is comprised of a fundamental pitch (fundamen-
tal frequency), and several other frequencies (harmonics or overtones), colour
can also be considered as a ‘value’ in the domain of pitch.
20 Musical tones (musical events) differ in loudness. ‘The more energetic the
pressure wave … the louder will be the sound heard as the wave impacts on the
ear’ (Tan et al., 2010: 34). Under the context of everyday listening, loudness is
not only perceived as the energy (intensity) of a sound wave, but also as the fre-
quency of that sound wave. As frequency (the physical property of sound that
corresponds to the psychological quality pitch), loudness can be classified as a
value inside the scope of the domain of pitch.
Does music unfold in time (Alperson, 1990) or does music create time? The
fact is, that ‘every event must occur, and each occurrence must have some du-
ration’ (Lantz et al., 2020, p. 2). Furthermore, time does not change, but events
do. As music is a sequence of events that not only contain but also shape time,
music creates time (Kramer, 1988), which is virtual, ‘radically different from
the time in which our public and practical life proceeds’ (Langer, 1953, p. 109).

9 Chord and harmony are often used interchangeably. The concept of chord and harmony
is presented by Schoenberg (1978: 13): ‘Harmony (is) the study of simultaneous sounds
(chords) and how they may be joined with respect to their architectonic, melodic, and rhyth-
mic values and their significance – their weight relative to one another’. Harmony is obta-
ined when two or more notes sound at same time, and the simultaneous sounding of at least
three notes forms a chord.
10 The sound of a tuning fork is an example of a tone without colour as there is only one frequ-
ency of vibration (a sine wave, often called a ‘pure’ tone).

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