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Music as a Chariot offers a multidisciplinary perspective on how Theatre can be considered a type of music, and how that understanding can shape our entire approach to the performing arts. Tracing the origins of time and music, along with the evolutionary neuroscience of the human brain, the author explores how humans evolved to produce and experience the music rooted in the auditory expression of theatre, along with the practical implications of this concept - namely the fundamental techniques practitioners use in scoring theatre.
Music as a Chariot offers a multidisciplinary perspective on how Theatre can be considered a type of music, and how that understanding can shape our entire approach to the performing arts. Tracing the origins of time and music, along with the evolutionary neuroscience of the human brain, the author explores how humans evolved to produce and experience the music rooted in the auditory expression of theatre, along with the practical implications of this concept - namely the fundamental techniques practitioners use in scoring theatre.
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Autorenporträt
Richard K. Thomas is Professor of Visual and Performing Arts at Purdue University with over 100 credits as a composer, sound designer, author, playmaker and educator. He is a Fellow of USITT, and winner of the 2018 Distinguished Achievement Award in Sound Design and Technology.
Inhaltsangabe
Table of Contents Chapter 1: Introduction: Why this Book? Introduction: An Ear Opening Experience Old School Aesthetics When Sound Gets Divorced from Music Who Should Read this Book Overview of the Book Bibliography Ten Questions Things to Share Notes Part I: The Nature of Time Chapter 2: Let There Be a Big Bang Introduction: If a Tree Falls in the Universe The Nature of Light and Sound The Evolution of Hearing and Speaking The Evolution of the Brain Leads to the Ability to Express Emotions Eyes and Ears, Space and Time Ten Questions Things to Share Notes Bibliography Chapter 3: The Great Mystery of Time Introduction: Babbling in Babelsberg The Mammalian Invasion We Are Such Stuff as Dreams Are Made of The Relativity of Time Ten Questions Things to Share Notes Bibliography Part II: Music = Time Manipulated Chapter 4: What Is Music? Introduction: What s in a Name? Music Is Organized Sound Narrowing Our Definition of Music Music Is Visual as Well as Audible The Elements of Design Energy Characteristics Temporal Characteristics Spatial Characteristics Complex Elements that Combine Energy in Time and Space The Importance of These Elements of Music A Proposed Definition of Music Ten Questions Things to Share Notes Bibliography Chapter 5: Primate Numbers Introduction: Whös on First? Music, Language and Mimesis: The Really Early Years Bipedal Primates Ten Questions Things to Share Notes Bibliography Part III: Song = Music + Idea Chapter 6: Campfire Songs (Rhythm and Entrainment) Introduction: Welcome Homo One Giant Leap for Mankind Early Homo Homo Erectus Running, Tempo, Pulse, Tactus and Entrainment Tempo, Pacing, Tactus, Entrainment and Theatre Composition When Music Meets Mimesis Conclusion Ten Questions Things to Share Notes Bibliography Chapter 7: Music and Language Introduction: "All Theatre Starts with a Script" Brain Gains Fantastic Voyage Conclusion: Song = Music + Idea Ten Questions Things to Share Notes Bibliography Chapter 8: Consonance and Dissonance (The Evolution of Line) Introduction: The Roots of Who We Become The Evolution of Line Consonance and Dissonance What is Consonance and Dissonance? Subcortical Consonance and Dissonance Perception Cortical Consonance and Dissonance Perception Consonance and Dissonance in Theatre Line/Melody Harmony Conclusion: Consonance and Dissonance and Time Ten Questions Things to Share Notes Bibliography Part IV: Theatre = Song + Mimesis Chapter 9: Ritual, Arousal, Reward, Ecstasy Introduction: From High Mass to Ecstasy The Development of Ritual, Shamanism, and (Altered States of Consciousness) The Neuroscience of Arousal and Reward in the Altered States of Consciousness of Shamanism and Theatre Introduction: Dreams, Altered States of Consciousness and Theatre The Basic Neuroscience of Arousal The Effect of Music on Physiological Systems The Effect of Music on Psychological Systems Cognitive Models for Music in Theatre Robert Thayer s Model of Psychological Moods Berlyne s Theory of Arousal in Aesthetics and Psychobiology Conclusion: Experiments in Ecstasy Ten Questions Things to Share Notes Bibliography Chapter 10: Music, Mimesis, Memory Introduction: Traveling Backwards in Time The New Stone Age Memory Introduction Sensory Memory Long Auditory Store/Short Term Memory/Working Memory Long-Term Memory Creating and Retrieving Long-Term Memories Implicit Memory Explicit Episodic Memory Involuntary Explicit Episodic Memory Autobiographical Memory Conclusion: The Origins of Theatre and the Problems of the Oral Tradition Ten Questions Things to Share Notes Bibliography Chapter 11: The Bronze Age and the Invention of Writing Introduction: Theatre Becomes Drama The Bronze Age The Emergence of Written Language The Transition from Oral Tradition to Recorded History Conclusion: Lost in Translation? Ten Questions Things to Share Notes Bibliography Chapter 12: Conclusion: Evolution and Greek Theatre Introduction: A Case Study The Origins of Greek Music: Music = Time Manipulated The Development of Greek Song: Song = Music + Idea Music as Math Made Audible: The Greeks Revisit Consonance and Dissonance The First Autocratic Theatre: Theatre = Song + Mimesis Plato and His World Aristotle s Theatre Conclusion of the Conclusion Eleven Questions, Part I Eleven Questions, Part II Things to Share Notes Bibliography
Table of Contents Chapter 1: Introduction: Why this Book? Introduction: An Ear Opening Experience Old School Aesthetics When Sound Gets Divorced from Music Who Should Read this Book Overview of the Book Bibliography Ten Questions Things to Share Notes Part I: The Nature of Time Chapter 2: Let There Be a Big Bang Introduction: If a Tree Falls in the Universe The Nature of Light and Sound The Evolution of Hearing and Speaking The Evolution of the Brain Leads to the Ability to Express Emotions Eyes and Ears, Space and Time Ten Questions Things to Share Notes Bibliography Chapter 3: The Great Mystery of Time Introduction: Babbling in Babelsberg The Mammalian Invasion We Are Such Stuff as Dreams Are Made of The Relativity of Time Ten Questions Things to Share Notes Bibliography Part II: Music = Time Manipulated Chapter 4: What Is Music? Introduction: What s in a Name? Music Is Organized Sound Narrowing Our Definition of Music Music Is Visual as Well as Audible The Elements of Design Energy Characteristics Temporal Characteristics Spatial Characteristics Complex Elements that Combine Energy in Time and Space The Importance of These Elements of Music A Proposed Definition of Music Ten Questions Things to Share Notes Bibliography Chapter 5: Primate Numbers Introduction: Whös on First? Music, Language and Mimesis: The Really Early Years Bipedal Primates Ten Questions Things to Share Notes Bibliography Part III: Song = Music + Idea Chapter 6: Campfire Songs (Rhythm and Entrainment) Introduction: Welcome Homo One Giant Leap for Mankind Early Homo Homo Erectus Running, Tempo, Pulse, Tactus and Entrainment Tempo, Pacing, Tactus, Entrainment and Theatre Composition When Music Meets Mimesis Conclusion Ten Questions Things to Share Notes Bibliography Chapter 7: Music and Language Introduction: "All Theatre Starts with a Script" Brain Gains Fantastic Voyage Conclusion: Song = Music + Idea Ten Questions Things to Share Notes Bibliography Chapter 8: Consonance and Dissonance (The Evolution of Line) Introduction: The Roots of Who We Become The Evolution of Line Consonance and Dissonance What is Consonance and Dissonance? Subcortical Consonance and Dissonance Perception Cortical Consonance and Dissonance Perception Consonance and Dissonance in Theatre Line/Melody Harmony Conclusion: Consonance and Dissonance and Time Ten Questions Things to Share Notes Bibliography Part IV: Theatre = Song + Mimesis Chapter 9: Ritual, Arousal, Reward, Ecstasy Introduction: From High Mass to Ecstasy The Development of Ritual, Shamanism, and (Altered States of Consciousness) The Neuroscience of Arousal and Reward in the Altered States of Consciousness of Shamanism and Theatre Introduction: Dreams, Altered States of Consciousness and Theatre The Basic Neuroscience of Arousal The Effect of Music on Physiological Systems The Effect of Music on Psychological Systems Cognitive Models for Music in Theatre Robert Thayer s Model of Psychological Moods Berlyne s Theory of Arousal in Aesthetics and Psychobiology Conclusion: Experiments in Ecstasy Ten Questions Things to Share Notes Bibliography Chapter 10: Music, Mimesis, Memory Introduction: Traveling Backwards in Time The New Stone Age Memory Introduction Sensory Memory Long Auditory Store/Short Term Memory/Working Memory Long-Term Memory Creating and Retrieving Long-Term Memories Implicit Memory Explicit Episodic Memory Involuntary Explicit Episodic Memory Autobiographical Memory Conclusion: The Origins of Theatre and the Problems of the Oral Tradition Ten Questions Things to Share Notes Bibliography Chapter 11: The Bronze Age and the Invention of Writing Introduction: Theatre Becomes Drama The Bronze Age The Emergence of Written Language The Transition from Oral Tradition to Recorded History Conclusion: Lost in Translation? Ten Questions Things to Share Notes Bibliography Chapter 12: Conclusion: Evolution and Greek Theatre Introduction: A Case Study The Origins of Greek Music: Music = Time Manipulated The Development of Greek Song: Song = Music + Idea Music as Math Made Audible: The Greeks Revisit Consonance and Dissonance The First Autocratic Theatre: Theatre = Song + Mimesis Plato and His World Aristotle s Theatre Conclusion of the Conclusion Eleven Questions, Part I Eleven Questions, Part II Things to Share Notes Bibliography
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