The Structure of Plato`s Dialogues and Greek Music Theory: A
... parts of such an arrangement of tones, into which the moveable pitches—which will be placed in accordance with the required musical genus—must still be fitted. (And, as indicated before, such a complete scale arrangement will always comprise exactly eight notes within the octave.) Now, the ratios of ...
... parts of such an arrangement of tones, into which the moveable pitches—which will be placed in accordance with the required musical genus—must still be fitted. (And, as indicated before, such a complete scale arrangement will always comprise exactly eight notes within the octave.) Now, the ratios of ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... parts of such an arrangement of tones, into which the moveable pitches—which will be placed in accordance with the required musical genus—must still be fitted. (And, as indicated before, such a complete scale arrangement will always comprise exactly eight notes within the octave.) Now, the ratios of ...
... parts of such an arrangement of tones, into which the moveable pitches—which will be placed in accordance with the required musical genus—must still be fitted. (And, as indicated before, such a complete scale arrangement will always comprise exactly eight notes within the octave.) Now, the ratios of ...
Introducing MANTRA
... through the air. These were no ordinary concerts, more like open master classes in advanced method acting for musicians. For the previous ten years, after travelling to America and being introduced to the inspired conversational music-making of John Lewis, the Modern Jazz Quartet, and Count Basie a ...
... through the air. These were no ordinary concerts, more like open master classes in advanced method acting for musicians. For the previous ten years, after travelling to America and being introduced to the inspired conversational music-making of John Lewis, the Modern Jazz Quartet, and Count Basie a ...
Technology from Dancing Dots
... Blind musicians have always been challenged to express their musical ideas correctly in print notation for the sighted to read. Dancing Dots has developed the Lime Aloud scripts to enable users of JAWS to independently operate the Lime notation editor so that they can confidently create printed scor ...
... Blind musicians have always been challenged to express their musical ideas correctly in print notation for the sighted to read. Dancing Dots has developed the Lime Aloud scripts to enable users of JAWS to independently operate the Lime notation editor so that they can confidently create printed scor ...
The Anne Landa Preludes of Carl Vine: musical
... ‘Flederman’ with trombonist Simone de Haan in Sydney and remained as pianist, composer, conductor and director of the ensemble until 1989. The Flederman ensemble has performed in Australia and the United States, Holland, Finland, and the United Kingdom. Between 1980 and 1982 Carl Vine worked as a le ...
... ‘Flederman’ with trombonist Simone de Haan in Sydney and remained as pianist, composer, conductor and director of the ensemble until 1989. The Flederman ensemble has performed in Australia and the United States, Holland, Finland, and the United Kingdom. Between 1980 and 1982 Carl Vine worked as a le ...
Hybrid Thinking in Meloharmony
... spectrum. Instead, he primarily distorts spectra by stretching or compressing them. Even in their nearly natural form, Grisey writes out the spectra without any indices for the deviations of the 5th or 7th partial tones from ET. Only the 11th and 13th partials are notated with quartertone signs, as ...
... spectrum. Instead, he primarily distorts spectra by stretching or compressing them. Even in their nearly natural form, Grisey writes out the spectra without any indices for the deviations of the 5th or 7th partial tones from ET. Only the 11th and 13th partials are notated with quartertone signs, as ...
A propos du « mouvement musical » chez Debussy :
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
A Rule-based System for Tuning Chord Progressions
... its notes is related to its root as an octave equivalent of 2, 3, 5 and 1:9. (In closed root position, this will be 36:45:54:64.) This tuning is not a familiar one in the literature. It is completely avoided by Rameau, for instance, who favors the proportions 20:25:30:36. There is much to say for th ...
... its notes is related to its root as an octave equivalent of 2, 3, 5 and 1:9. (In closed root position, this will be 36:45:54:64.) This tuning is not a familiar one in the literature. It is completely avoided by Rameau, for instance, who favors the proportions 20:25:30:36. There is much to say for th ...
Full CD Booklet
... 20 notes: The modal arrangements of this tuning are very complex, and have their origin in the equal divisions of an octave into four and five parts. Triads are very bad, and the most consonant harmony this tuning offers is a minor triad with an added major sixth, along with its inversions. This is ...
... 20 notes: The modal arrangements of this tuning are very complex, and have their origin in the equal divisions of an octave into four and five parts. Triads are very bad, and the most consonant harmony this tuning offers is a minor triad with an added major sixth, along with its inversions. This is ...
the schenkerian analysis in the modern context of the
... composers of his own time and derided most European non-German music, especially Italian opera. Those who practice Schenkerian analysis do not assume these aesthetic implications nowadays. They acknowledge Schenker´s theory to be culturally specific and, as such, only applicable to a very limited re ...
... composers of his own time and derided most European non-German music, especially Italian opera. Those who practice Schenkerian analysis do not assume these aesthetic implications nowadays. They acknowledge Schenker´s theory to be culturally specific and, as such, only applicable to a very limited re ...
pdf
... and Trehub's (1992) study. Furthermore, the within-key change in this study (G, changed to B,) also remained within the implied dominant harmony (G B D F chord) at that point. As a result, the adults' poor performance on this change may have stemmed from the harmonic function of the changed note as ...
... and Trehub's (1992) study. Furthermore, the within-key change in this study (G, changed to B,) also remained within the implied dominant harmony (G B D F chord) at that point. As a result, the adults' poor performance on this change may have stemmed from the harmonic function of the changed note as ...
Tripod Notation article
... names and adds a three-fold division of the octave. The result is that you have, conceptually, three different meantone scales. Things like this are sometimes called “bike chains” which leads to the name of the notation system: tricycle notation. If we’re looking at a tricycle rather than a tripod, ...
... names and adds a three-fold division of the octave. The result is that you have, conceptually, three different meantone scales. Things like this are sometimes called “bike chains” which leads to the name of the notation system: tricycle notation. If we’re looking at a tricycle rather than a tripod, ...
Tuning, Tonality, and 22
... using a 12-tone scale (or approximation thereof) is what allowed Chinese and medieval Western music to develop dyadic harmony. It turned out that 12-tone equal-tempered scales, and the diatonic modes that were in use in the West, were conducive to 5-limit (triadic) harmony as well, with a decent deg ...
... using a 12-tone scale (or approximation thereof) is what allowed Chinese and medieval Western music to develop dyadic harmony. It turned out that 12-tone equal-tempered scales, and the diatonic modes that were in use in the West, were conducive to 5-limit (triadic) harmony as well, with a decent deg ...
MTO 15.2: Brown, Axis Tonality
... between the two main key areas of the movement, cinching its connection to the movement’s axis tonality. (5) [8] Further details support this axis reading. For instance, shortly after the primary theme, the solo cello plays the main motive of the movement (G-F -C -B ) in counterpoint with the rising ...
... between the two main key areas of the movement, cinching its connection to the movement’s axis tonality. (5) [8] Further details support this axis reading. For instance, shortly after the primary theme, the solo cello plays the main motive of the movement (G-F -C -B ) in counterpoint with the rising ...
Systems of pitch relations: scales, tunings
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
Modal Jazz and Miles Davis: George Russell`s Influence and the
... In 1945, Russell sat down at the piano with a very specific goal: to find a scale that best captured the “sound” of a major chord. In such a scale, every note would reflect the overall sonority of the tonic triad so that, when used as a source for improvisation, the entire scale would consistently “ ...
... In 1945, Russell sat down at the piano with a very specific goal: to find a scale that best captured the “sound” of a major chord. In such a scale, every note would reflect the overall sonority of the tonic triad so that, when used as a source for improvisation, the entire scale would consistently “ ...
Dictionary of Musical Terms
... “Cut time” ( ) The half-note is the unit of the meter A broken chord (each note of the chord is played in succession) Begin the next movement immediately The close or ending of a phase An elaborate solo passage with fancy embellishments to display the proficiency of the performer Proceeding by semit ...
... “Cut time” ( ) The half-note is the unit of the meter A broken chord (each note of the chord is played in succession) Begin the next movement immediately The close or ending of a phase An elaborate solo passage with fancy embellishments to display the proficiency of the performer Proceeding by semit ...
JS Bach – Music for flute (Robert Brown)
... In the G Major sonata for flute, violin and continuo, BWV 1038, Bach directed the violinist to tune the upper strings down a tone to reduce their brightness, enabling a better blend with the gentle flute. There is some doubt about the authenticity of this sonata. One of Bach’s sons or students, poss ...
... In the G Major sonata for flute, violin and continuo, BWV 1038, Bach directed the violinist to tune the upper strings down a tone to reduce their brightness, enabling a better blend with the gentle flute. There is some doubt about the authenticity of this sonata. One of Bach’s sons or students, poss ...
From Modal to Tonal: The Influence of Monteverdi on Musical
... This background created Monteverdi into the musician and composer that he would later become. His experience with Ingegneri and training in the church allowed him to be immersed in the theory of music. As his musical works developed, he became called the ‘Father of Opera’ due to his innovations in ...
... This background created Monteverdi into the musician and composer that he would later become. His experience with Ingegneri and training in the church allowed him to be immersed in the theory of music. As his musical works developed, he became called the ‘Father of Opera’ due to his innovations in ...
Grade: K - Kenosha Unified School District
... • Reads whole, half, dotted half and quarter notes and rests, as well as patterns consisting of two eighth notes, four sixteenth notes, eighth quarter eighth note syncopated patterns and triplet values of dotted quarter notes and rests and triplet patterns of three eighth notes • Notates whole, half ...
... • Reads whole, half, dotted half and quarter notes and rests, as well as patterns consisting of two eighth notes, four sixteenth notes, eighth quarter eighth note syncopated patterns and triplet values of dotted quarter notes and rests and triplet patterns of three eighth notes • Notates whole, half ...
Chapter 2 - Performing Media
... Their popularity rises and falls with changing musical tastes and requirements. However, 20 th century interest in music of earlier times has led to the resurrection of long-forgotten instruments like the harpsichord, an ancestor of the piano, and the recorder, a relative of the flute. Modern ...
... Their popularity rises and falls with changing musical tastes and requirements. However, 20 th century interest in music of earlier times has led to the resurrection of long-forgotten instruments like the harpsichord, an ancestor of the piano, and the recorder, a relative of the flute. Modern ...
Preliminary Observations of an overview of the music in Le Grand
... The Finale is based upon a dyadic passacaglia of 24 major/minor sixths (Example 4), which is used by Ligeti to hang other musical elements; mainly of a melodic nature. The passacaglia unfolds through a gradual accretion of extra pitches onto the dyadic base. This includes additional octaves and comp ...
... The Finale is based upon a dyadic passacaglia of 24 major/minor sixths (Example 4), which is used by Ligeti to hang other musical elements; mainly of a melodic nature. The passacaglia unfolds through a gradual accretion of extra pitches onto the dyadic base. This includes additional octaves and comp ...
Symmetry in the First Movement of Martin Bresnick`s Piano Trio
... Some readers may question the audibility of such symmetry and patterns. Knowledge of what is occurring while listening is not necessary for enjoyment, but perhaps enjoyment is increased when the listener realizes not the specifics of the patterns but that something deeper is occurring. The idea tha ...
... Some readers may question the audibility of such symmetry and patterns. Knowledge of what is occurring while listening is not necessary for enjoyment, but perhaps enjoyment is increased when the listener realizes not the specifics of the patterns but that something deeper is occurring. The idea tha ...
Figured bass
Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols indicate intervals, chords, and non-chord tones, in relation to the bass note they are placed above or below. Figured bass is closely associated with basso continuo, a historically improvised accompaniment used in almost all genres of music in the Baroque period, though rarely in modern music.Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis;macro symbols, sometimes used in modern musicology; the Nashville number system; and various names and symbols used in jazz and popular music.