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A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
Dermatoglyphics (from Ancient Greek derma, "skin", and glyph, "carving") is the scientific study of fingerprints, lines, mounts and shapes of hands, as distinct from the superficially similar pseudoscience of palmistry. Dermatoglyphics also refers to the making of naturally occurring ridges on certain body parts, namely palms, fingers, soles ...
Curtis Roads, in his 2001 book 'Microsound', while attributing the origin of the term to Pierre Schaeffer, describes the sound object as "a basic unit of musical structure, generalizing the traditional concept of note to include complex and mutating sound events on a time scale ranging from a fraction of a second to several seconds."
Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, [1] [2] [3] psychophysics, [4] organology [5] (classification of the instruments), physiology, [6] music theory, [7] ethnomusicology, [8] signal processing and instrument building, [9] among other disciplines.
In the physical sense of the term, the word "pitch" refers to the frequency of a sound. Another term that is frequently used by music neuroscientists is "fine-grained pitch processing" which refers to the ability of a person to distinguish minor changes or fluctuations in pitch. Processing pitch is an extremely integral part of music cognition.
In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume.
The concept of musical gestures encompasses a large territory stretching from details of sound-production to more global emotive and aesthetic images of music, and also include considerations of cultural-stylistic vs. more universal modes of expression. In all cases, it is believed that musical gestures manifest the primordial role of human ...
In musical composition, a sound mass or sound collective is the result of compositional techniques, in which "the importance of individual pitches" is minimized "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring "the boundary between sound and noise".