Mazzola on Music Theory
... realm of ideas apart from its performance. Performance her defines as "Expressive interpretation based on an understanding of the text." Mazzola then launched into a description of a musical score as a kind of manifold with overlapping neighborhoods, within each of which there is a particular interp ...
... realm of ideas apart from its performance. Performance her defines as "Expressive interpretation based on an understanding of the text." Mazzola then launched into a description of a musical score as a kind of manifold with overlapping neighborhoods, within each of which there is a particular interp ...
Scales - MUS 231: Music in Western Civ
... central pitch (the tonic) – Modulation: a musical move to a different tonal center ...
... central pitch (the tonic) – Modulation: a musical move to a different tonal center ...
lecture16
... 4a. Consonance and Dissonance between two pure tones • When two pure tones are sounded together, consonance or dissonance depends upon their frequency difference rather than on their frequency ratio • If the frequency difference is greater than a critical band, they sound consonant • If the frequen ...
... 4a. Consonance and Dissonance between two pure tones • When two pure tones are sounded together, consonance or dissonance depends upon their frequency difference rather than on their frequency ratio • If the frequency difference is greater than a critical band, they sound consonant • If the frequen ...
lecture16
... 4a. Consonance and Dissonance between two pure tones •When two pure tones are sounded together, consonance or dissonance depends upon their frequency difference rather than on their frequency ratio •If the frequency difference is greater than a critical band, they sound consonant •If the frequency ...
... 4a. Consonance and Dissonance between two pure tones •When two pure tones are sounded together, consonance or dissonance depends upon their frequency difference rather than on their frequency ratio •If the frequency difference is greater than a critical band, they sound consonant •If the frequency ...
Elements of Music
... Harmony • Consonance & Dissonance – A relationship between two notes (interval) is either stable or unstable – Unstable (dissonant) intervals resolve to stable (consonant) intervals ...
... Harmony • Consonance & Dissonance – A relationship between two notes (interval) is either stable or unstable – Unstable (dissonant) intervals resolve to stable (consonant) intervals ...
A Crash Course in Renaissance Counterpoint
... However, the highly evolved and complex system of Renaissance counterpoint could not have just disappeared overnight. In fact, despite the radical challenges that it sustained around 1600, Renaissance counterpoint still informed how music was made throughout the whole Baroque (think of music today n ...
... However, the highly evolved and complex system of Renaissance counterpoint could not have just disappeared overnight. In fact, despite the radical challenges that it sustained around 1600, Renaissance counterpoint still informed how music was made throughout the whole Baroque (think of music today n ...
Harmonics - Homework References
... string of vibration has numerous segments The relative intensity and number of overtones determines the quality of a The first seven harmonics of a string musical note ...
... string of vibration has numerous segments The relative intensity and number of overtones determines the quality of a The first seven harmonics of a string musical note ...
Chapters 5-7 Power Point
... Example: sing My Country ‘Tis of Thee but don’t sing the last note. How is it that it makes you uneasy? ...
... Example: sing My Country ‘Tis of Thee but don’t sing the last note. How is it that it makes you uneasy? ...
MUL 2010 “Enjoyment of Music
... (actually the ratio of frequencies/vibrations) • Octave – 2:1 ratio of frequency - What is an Octave - YouTube ...
... (actually the ratio of frequencies/vibrations) • Octave – 2:1 ratio of frequency - What is an Octave - YouTube ...
Consonance Dissonance
... Composers and musicians use different types of harmony, like dissonance and consonance, in order to create changes in the mood of a piece of music. ...
... Composers and musicians use different types of harmony, like dissonance and consonance, in order to create changes in the mood of a piece of music. ...
Consonance and dissonance
In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion: a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. Consonance and dissonance define a level of sweetness / harshness, pleasantness / unpleasantness, acceptability / unacceptability, of the sounds or intervals under consideration. As Hindemith stressed, ""The two concepts have never been completely explained, and for a thousand years the definitions have varied"" (Hindemith 1942, p. 85).The opposition can be made in different contexts:In acoustics or psychophysiology, the distinction may be objective. In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).In music, even if the opposition often is founded of the preceding, objective distinction, it more often is subjective, conventional, cultural, and style-dependent. Dissonance can then be defined as a combination of sounds that does not belong to the style under consideration; in recent music, what is considered stylistically dissonant may even correspond to what is said consonant in the context of acoustics (e.g. a major triad in atonal music).In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second is heard. For this reason, consonance and dissonance have been considered particularly in the case of polyphonic Occidental music, and the present article is concerned mainly with this case.Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psychophysiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context – which is one of the reasons why the musical definition of consonance/dissonance cannot match the psychophysiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of 'dissonance' and of 'noise'. (See also Noise in music, Noise music and Noise (acoustic).)While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself the dissonance: it is this tone in particular that needs ""resolution"" through a specific voice leading.