The magnificent Vi Hart — mathemusician extraordinaire, who has previously stop-motion-doodled our way to understanding such mysteries as space-time, Möbius strips, Fibonacci numbers, and the science of sound, frequency, and pitch — is back with another gem, this time illuminating Stravinsky’s atonal composition for Edward Lear’s classic nonsense poem, “The Owl and the Pussycat.” Stravinsky actually borrowed the basis for his composition from the 12-tone technique Arnold Schoenberg invented, which Hart explains as well. Enjoy, and keep an eye open for Hart’s delightful sideways sleight against the brokenness of copyright law, one that would’ve actually left Stravinsky particularly miffed.
Monday, July 15, 2013
Why We Hear Music the Way We Do
The magnificent Vi Hart — mathemusician extraordinaire, who has previously stop-motion-doodled our way to understanding such mysteries as space-time, Möbius strips, Fibonacci numbers, and the science of sound, frequency, and pitch — is back with another gem, this time illuminating Stravinsky’s atonal composition for Edward Lear’s classic nonsense poem, “The Owl and the Pussycat.” Stravinsky actually borrowed the basis for his composition from the 12-tone technique Arnold Schoenberg invented, which Hart explains as well. Enjoy, and keep an eye open for Hart’s delightful sideways sleight against the brokenness of copyright law, one that would’ve actually left Stravinsky particularly miffed.
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