alt Hacker NewsI read through a lot of this article and it does a good job explaining the ratios and math behind harmonics and how that makes chords, but ideas like lower ratios are more pleasant and minor chords feel like something is missing (from the article "I do not hear the Harmonic Series itself -- something is missing") is just wrong - if it was right, then the happiest music would be entirely octaves. Though it's built on harmonics and overtones which can be explained objectively, you cannot make a fully scientific theory of harmony since cultural expectations factor in just as much (and maybe even more) than the expectations around harmonics. Music is pleasurable when it mostly meets expectations but surprises you as well, IE it sits just outside of what we expect. It then becomes part of what you expect in the future and music evolves.
Ultimately minor sounds sad because it's been used that way for a long time and it's what we expect. I was listening to Trout Mask Replica and my wife said it sounded like her home town funeral music (I later heard some myself and yeah she was right) - Captain Beefheart doesn't sound sad to me, but it does to her. The funeral music uses major 5 note scale.
And on "But I've Been a Musician All My Life / Studied Music In College and I've Never Heard Any of This Before!" - ratios and how chords derive from that was absolutely part of my education at Berklee. This article is good for the objective parts, but really self-congratulating for the subjective/experiential part of it.
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I think you could make a scientific theory of harmony (and perhaps music or even sound more generally) through the physiological lens of human perception. Straying a bit from music, but some sounds are fairly universally unpleasant, so there may be some objective basis for some sounds, and harmonies, being more “pleasurable” than others.
Right on. In my experience across different art fields, I’d say the only generalizable facet of ‘good’ art/music/etc is the “it sits just outside of what we expect”.
These days I liken it more to the idea of ‘surprise’ in information entropy which denotes an informative signal then to revealing any sort of objective truth.
I find the major/minor thing so fascinating. I remember it having the "happy"/"sad" vibes from my earliest memories and have a really hard time with the idea that it could be cultural. But if it's not cultural, then why? Also is the fact that major 9ths have a beach/island vibe cultural due to Brazilian jazz? :-)
> you cannot make a fully scientific theory of harmony since cultural expectations factor in just as much (and maybe even more) than the expectations around harmonics.
That's only true if you're expecting a "fully scientific theory of harmony" to mean "a theory that can precisely predict how popular/enjoyable any given piece of music will be." But I don't think that's a reasonable goal, since (as you say) individuals are complex and culture is even more complex.
It's not unlike, say, pain or discomfort, which we can also develop scientific theories for. We can discover how pain works physiologically and psychologically, but our theories are never going to fully explain why individuals or cultures might welcome and even seek out certain types of pain in certain contexts.
I don't buy that minor being "sad" is all nurture and no nature. No matter what tempo or rhythm you put on it or what instruments you use to play it, it may not sound sad, it may sound dramatic and powerful instead, but it never sounds upbeat and happy the way major does (or at least can).