“[C]ontemporary research reveals that music possesses universal characteristics that mark it as a similar behavior present in all human societies. For example, the principle of ‘octave equivalence’—the treatment of two pitches, one with a frequency twice that of the other, as the same pitch sounding at different octaves—is ‘present in all the world’s music systems,’ and it is typical across cultures to organize scales around the consonant intervals of octaves, fifths, and fourths” [Carson Holloway, All Shook Up: Music, Passion, and Politics (Dallas: Spence Publishing, 2001), p. 116].
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