Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory

Through mathematical representation (beat-class theory) of embodied acoustics (psychoacoustics) the predominance of the musical tradition of the Ikoro drum with the Igbo’s can be traced from the past, into the present and forecasted into the future. The Ikoro music tradition has been viewed as an integral and indispensable part of Igbo culture at large (Onwubiko and Neilsen, 2019). The major musical instruments that accompany most Igbo music are percussional, such as, ichaka (beaded-gourd rattle), okpokolo (wooden claves), and igba (membrane drum) and are characterized by successions of rhythmic interchange unlimited to interesting pitch, timbre, rhythm and meter by employing shifted accents, non-accented rhythms and syncopations. In order to understand Ikoro music located in the listener’s experience (embodied psychoacoustics), we demonstrate how mathematical music theory (beat-class theory) provides the means to articulate the “mind and body” response to the stimulus of sound. By examining the aural tradition of Ikoro music of the Igbo’s through visualizations and sonifications of beat-class theory using ski-hill graphs and circular cyclic graphs, “hidden” musical structures are revealed which possess significant cultural significance.Through mathematical representation (beat-class theory) of embodied acoustics (psychoacoustics) the predominance of the musical tradition of the Ikoro drum with the Igbo’s can be traced from the past, into the present and forecasted into the future. The Ikoro music tradition has been viewed as an integral and indispensable part of Igbo culture at large (Onwubiko and Neilsen, 2019). The major musical instruments that accompany most Igbo music are percussional, such as, ichaka (beaded-gourd rattle), okpokolo (wooden claves), and igba (membrane drum) and are characterized by successions of rhythmic interchange unlimited to interesting pitch, timbre, rhythm and meter by employing shifted accents, non-accented rhythms and syncopations. In order to understand Ikoro music located in the listener’s experience (embodied psychoacoustics), we demonstrate how mathematical music theory (beat-class theory) provides the means to articulate the “mind and body” response to the stimulus of sound. By examining the aural tra...