Over the previous few decades, millions of non-musicians have discovered that piano is just not all about symphony concert halls and complicated compositions by classical music luminaries. You might now be beginning to see how language and music could mimic nature, yet we could be unaware of it. Specifically: what if language and music mimic all of the lower- and middle-degree constructions of nature, and only fail to mimic nature on the highest ranges?
McDermott and his colleagues determined to research whether a choice for consonant tones was truly a hardwired trait by testing musical preferences in the Tsimane’, whose restricted entry to television and radio offers them minimal publicity to Western music.
It might also harbour extra experimental definitions comparable to Peter Brötzmann’s 1968 free-jazz octet ‘Machine Gun’ (sure, that is what it feels like) or Steve Roden’s 2001 piece ‘A Quiet Flexible Background for a Harmonious Life’, which …