Concurso hispasónico, Enero 21 Cover-Remix

DCS escribió:

Yo creo que es al contrario,cuanto menos sepas más pobres serán tus composiciones

Maz-max escribió:

buscando a SanAntón nos sale una Purisima Concepción espectacular

DCS escribió:

Pero nuestro cerebro ya viene configurado de fábrica para que nos gusten ciertos intervalos y combinaciones de acordes.

Maz-max escribió:

entre do y re hay un monton de matices sonoros

DCS escribió:

Yo creo que es al contrario,cuanto menos sepas más pobres serán tus composiciones.

wikter @ TheSickbeat escribió:

teorías de cromatismo

wikter @ TheSickbeat escribió:

cromatismo tímbrico.

Alguien escribió:

Next, we juxtapose some of the potential uses of the term chroma in several works. From a scientific point of view, chroma is one of the attributes of sound. The rest of them are: tonal height, density, direction and mass [16]. The tonal height or pitch can be conceptualized as a bidimensional quality, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma).
Shepard [32] has defined with chroma the note’s position within the octave and has created a nonlogarithmic pitch helix, the chroma circle that clearly depicts octave equivalence. This has led to rather complex pitch-space representations in which the chromatic tone scale, the circle of fifths, octave circularity and other properties are all accounted for.
This approach perceives chroma as extension to the concept of tonality. In contemporary literature, chroma is not to be confused with timbre (=sound color) . Timbre has been defined by the American Standards Association [1] as “that attribute of auditory sensation in terms of which a listener can judge that two sounds similarly presented and having the same loudness and pitch are dissimilar”.
Sundberg [34] has added emotional coloring using tone categorization, while Juslin [15] has mapped musical expression cues of basic emotions.