The beginning of the article discusses phenomena related to the perception of music (specifically, the perception of pitch, musical scale and intonation) that can lead to misinterpretation. The result of the intersection of two emic systems (for example, the original tone system and 12-tone equal temperament) can be perceived as chromaticisms and ‘Greek modes’. Performance rules determine slight variations in intonation, depending on the melodic and harmonic context. This can also be misinterpreted as chromaticisms. The notations of the melodies of the songs of Lithuania Minor (from the collections of Christian Bartsch and Ludwig Rhesa) are analysed below, revealing manifestations of the aforementioned phenomena. The fact that chromaticisms and modulations in these notations arose due to misinterpretations is evidenced by the notators’ comments on the singers’ peculiar intonation, as well as by comparisons with the results of measurements of sound recordings of other musical dialects.
How thoroughly does the listener “measure” and reflect on the mathematical-acoustic foundation of the work Bolé LT for string orchestra and spatial system? There may be at least a couple of answers, depending on the versions of the work presentation. The first is if a “libretto” or score is provided. In this case, the listener attempts to relate the sound images to the described structural principles of the work. How successful this is depends on the individual and on the psychological adequacy of the structural principles. This study examines the second case – when there is no such „libretto.“ Methods: acoustic analysis, literature analysis, comparison, and generalization.