![]() ![]() Is there a correlation between the acoustic features of the common elements of music and the acoustic features of sounds that are present in the natural world? If so, is there a consistent and universal aspect of human development that would allow those sounds from the environment to be implanted as templates of recognition in the brains of peoples of diverse and widely separated cultures? Finally, if that common environment is prenatal, does the neurological development of the fetus allow for the absorption and retention of information from the womb? If the prenatal acoustic environment contains characteristic sounds that are the bases for some of the elements of music, then it should be possible to match, one-for-one, the sounds of the womb to those elements that can be found in the music of all cultures. It is reasonable to postulate that the characteristics of music that are common to the music of all cultures must have a common origin. This hypothesis is supported by a one-to-one matching of the universal features of music with the sounds of the womb: (1) all of the regularly heard sounds that are present in the fetal environment are represented in the music of every culture, and (2) all of the features of music that are present in the music of all cultures can be traced to the fetal environment. Taken together, these features and the similarities between the sounds of the womb and the elemental building blocks of music allow for a postulation that the fetal acoustic environment may provide the bases for the fundamental musical elements that are found in the music of all cultures. There are a number of features of prenatal development that allow for the formation of long-term memories of the sounds of the womb in the areas of the brain that are responsible for emotions. ![]() I describe features of music that are based on sounds that are present in the womb: tempo of pulse (pulse is understood as the regular, underlying beat that defines the meter), amplitude contour of pulse, meter, musical notes, melodic frequency range, continuity, syllabic contour, melodic rhythm, melodic accents, phrase length, and phrase contour. Use control F to search this page in your browser.Although the idea that pulse in music may be related to human pulse is ancient and has recently been promoted by researchers ( Parncutt, 2006 Snowdon and Teie, 2010), there has been no ordered delineation of the characteristics of music that are based on the sounds of the womb. This is a list of all the lyrics available in this section, click on A,B, etc in to top nav-bar to go to the song pages or on "irish mandolin tab" to return to this page. PRINT OUT: Should you need a print-out of the song, PDF versions (without banners or adverts) are available from the link at the bottom of each song page. ![]() Listen to the tune: Each tune is provided with a link to a midi file so you can hear what the tune sounds like. Multi page scores: Some of these tunes are quite long and may extend to 2 or 3 pages, in these cases only the first page is displayed on the web page so to view all the pages you will need to view the PDF file for that song, see below. Note that we also have this same collection with TAB and sheet music for mandolin.įor Irish Guitar books and sheet music to buy check the Irish Guitar Collection at Sheet Music Plus. As with most traditional music, a process know as "folk processing" occurs, which can result in many different versions of songs and tunes, so you may find more than one version of a song. The versions here are not intended to represent any particular version or performance and are provided for educational purposes only. EADGBE (standard) tuning for the guitar is assumed. This collection includes nearly 3000 scores with sheet music and Guitar tabs for traditional Irish music. The songs are accessed by clicking on a letter on the above nav-bar, A for songs beginning A etc. ![]()
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