Aleksey Nikolsky
Biographic Data
| ID | 138608 |
|---|---|
| NAME | Aleksey Nikolsky |
| GIVEN NAMES | Aleksey |
| FAMILY NAME | Nikolsky |
| SIGNATURE | NIKOLSKY A |
| AFFILIATIONS | Austin Independent School District |
| ORCID | 0000-0001-5572-9438 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 18 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
A new method of multifactorial modal analysis of music form for systematic musicology. Part 1
This article introduces a new method to analyze the tonal organization of music. This method uses “indefinite” intervallic typology instead of “definite.” The focus is on sounds with continuous frequency modulation and fluctuating pitch and time values rather than those with discrete time and frequency intervals that remain constant throughout a music work, forming sets of pitch and interval classes and rhythmic divisions. All existing methods of…
The (Co)Evolution of Language and Music Under Human Self-Domestication
Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process simila…
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming. Part 3
This article completes the series dedicated to the methodology of research of the vocal system of Jaw Harp’s articulation within the surviving indigenous traditions of Siberia and the Far East. This last part introduces and examines the relation between the tonal organization of Jaw Harp music and the material of Jaw Harp’s making. The acoustic properties of five most common materials (grass, bamboo, wood, bone, and metal) are discussed in relati…
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming
This article reviews the milestones in the formation of acoustic, musicological, and cultural attributes of tonal organization in indigenous traditions of jaw harp music across Northeastern Eurasia – as related to the timeline of its geographic distribution. Phonology of jaw harp playing is compared to singing and speaking in establishing traits specific to jaw harp prosody. Based on the theories of harmonic residue and harmonic templates, a new …
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming. Part 2
This article identifies the principal factors in the evolution of the tonal organization of traditional Jaw Harp music within the context of the chronology of its geographic distribution. The specificity of the vocal system of the Jaw Harp performance technique is analyzed in comparison with the vocal systems of verbal speech and singing. Based on the theories of residue pitch and harmonic templates, the article proposes a model of phonological c…
The Pastoral Origin of Semiotically Functional Tonal Organization of Music
This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music's origin can therefore be answered by establ…
The Overlooked Tradition of "Personal Music" and Its Place in the Evolution of Music
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timb…
What the “Talking Jew’s Harp” is saying
This article is an attempt to further develop the theory of divergence of musical systems of east and west of Eurasia by defining characteristics of a special type of musical cognition prevalent in traditional musical cultures of the indige-nous population of Siberia and Russian Far East. Its underlying trait is orientation on timbre (spectral content of musical sound) rather than pitch (frequency relations between musical sounds). Accordingly, w…
Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. Part-1 of this paper described the origin of tonal organization from verbal speech, its progress from indefinite to definite pitch, and the emergence of two main harmonic orders: heptatonic and pentatonic, each characterized b…
Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. The evidence from music theory, ethnography, archeology, organology, anthropology, psychoacoustics, and evolutionary biology is plotted against experimental evidence. Much of the methodology for this investigation comes from s…
The Overlooked Tradition of "Personal Music" and Its Place in the Evolution of Music
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timb…
The (Co)Evolution of Language and Music Under Human Self-Domestication
Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process simila…
The Pastoral Origin of Semiotically Functional Tonal Organization of Music
This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music's origin can therefore be answered by establ…
Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. Part-1 of this paper described the origin of tonal organization from verbal speech, its progress from indefinite to definite pitch, and the emergence of two main harmonic orders: heptatonic and pentatonic, each characterized b…
Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. The evidence from music theory, ethnography, archeology, organology, anthropology, psychoacoustics, and evolutionary biology is plotted against experimental evidence. Much of the methodology for this investigation comes from s…
Evolution of tonal organization in music mirrors symbolic representation of perceptual reality. Part-1
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. The evidence from music theory, ethnography, archeology, organology, anthropology, psychoacoustics, and evolutionary biology is plotted against experimental evidence. Much of the methodology for this investigation comes from s…
Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2
This paper reveals the way in which musical pitch works as a peculiar form of cognition that reflects upon the organization of the surrounding world as perceived by majority of music users within a socio-cultural formation. Part-1 of this paper described the origin of tonal organization from verbal speech, its progress from indefinite to definite pitch, and the emergence of two main harmonic orders: heptatonic and pentatonic, each characterized b…
What the “Talking Jew’s Harp” is saying
This article is an attempt to further develop the theory of divergence of musical systems of east and west of Eurasia by defining characteristics of a special type of musical cognition prevalent in traditional musical cultures of the indige-nous population of Siberia and Russian Far East. Its underlying trait is orientation on timbre (spectral content of musical sound) rather than pitch (frequency relations between musical sounds). Accordingly, w…
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming
This article reviews the milestones in the formation of acoustic, musicological, and cultural attributes of tonal organization in indigenous traditions of jaw harp music across Northeastern Eurasia – as related to the timeline of its geographic distribution. Phonology of jaw harp playing is compared to singing and speaking in establishing traits specific to jaw harp prosody. Based on the theories of harmonic residue and harmonic templates, a new …
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming. Part 2
This article identifies the principal factors in the evolution of the tonal organization of traditional Jaw Harp music within the context of the chronology of its geographic distribution. The specificity of the vocal system of the Jaw Harp performance technique is analyzed in comparison with the vocal systems of verbal speech and singing. Based on the theories of residue pitch and harmonic templates, the article proposes a model of phonological c…
The Pastoral Origin of Semiotically Functional Tonal Organization of Music
This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music's origin can therefore be answered by establ…
The Overlooked Tradition of "Personal Music" and Its Place in the Evolution of Music
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timb…
How, where and when authentic traditions of Jaw Harp music of Siberia and the Far East have been forming. Part 3
This article completes the series dedicated to the methodology of research of the vocal system of Jaw Harp’s articulation within the surviving indigenous traditions of Siberia and the Far East. This last part introduces and examines the relation between the tonal organization of Jaw Harp music and the material of Jaw Harp’s making. The acoustic properties of five most common materials (grass, bamboo, wood, bone, and metal) are discussed in relati…
A new method of multifactorial modal analysis of music form for systematic musicology. Part 1
This article introduces a new method to analyze the tonal organization of music. This method uses “indefinite” intervallic typology instead of “definite.” The focus is on sounds with continuous frequency modulation and fluctuating pitch and time values rather than those with discrete time and frequency intervals that remain constant throughout a music work, forming sets of pitch and interval classes and rhythmic divisions. All existing methods of…
The (Co)Evolution of Language and Music Under Human Self-Domestication
Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process simila…
Neuroscience and Music Perception (5 works) · Animal Vocal Communication and Behavior (4 works) · Art (4 works) · Diverse Musicological Studies (4 works) · HARP (4 works) · History (4 works) · Linguistics (4 works) · Archaeology (3 works) · Biology (3 works) · Computer Science (3 works)