Commentary on Buechele et al. (2023): Communicating Across the Divide – a Place for Physics in Music?

• DOI: 10.18061/emr.v19i2.9783
• Publication Date: 2025-03-03T21:29:47Z
• Authors: John M. McBride

The theory of Jesse Berezovsky (2019) is a rare foray of a physicist into the territory of music science. In their follow-up article in Empirical Musicology Review, Ryan Buechele, Alex Cooke, and Jesse Berezovsky (2024) show how the evolution of Western tuning systems and compositions can be rationalized by a theoretical model that describes a trade-off between minimizing sensory dissonance and maximizing compositional variety. From the Renaissance period onwards there was a trend towards more dissonance, and more compositional variety in both tuning systems and compositions. While this historical progression has perhaps been described qualitatively elsewhere, this model provides a more precise quantitative description of the phenomenon. The validity and scope of this model ought to be tested further by comparing its predictions with empirical measurements of tuning systems in both Western and non-Western cultures, alongside predictions of other theories of scale evolution. In the hope of encouraging and facilitating more of these interdisciplinary endeavors, I discuss some of my anecdotal experiences as a physical scientist embedded in the music science community, and offer advice on how to achieve better understanding and communication across disciplines.