Semantic manual - Semantic Daniélou
... an extremely minor harmony. In Marva it is, on the contrary, extremely major, and yet the difference of pitch is negligible in common musical practice. Two notes differing by one schisma are considered by Indians as the same shruti and are played by the same key in the Semantic. Actually, in the 5-l ...
... an extremely minor harmony. In Marva it is, on the contrary, extremely major, and yet the difference of pitch is negligible in common musical practice. Two notes differing by one schisma are considered by Indians as the same shruti and are played by the same key in the Semantic. Actually, in the 5-l ...
"Beethoven the Pianist" by Tilman Skowroneck
... articles is often problematic. Skowroneck quotes Alfred Brendel to the effect that “Beethoven’s piano work pointed far into the future of piano building” and that “decades had to pass after his death before there were pianos—and pianists—equal to the demands of his ‘Hammerklavier’ Sonata Op. 106” (p ...
... articles is often problematic. Skowroneck quotes Alfred Brendel to the effect that “Beethoven’s piano work pointed far into the future of piano building” and that “decades had to pass after his death before there were pianos—and pianists—equal to the demands of his ‘Hammerklavier’ Sonata Op. 106” (p ...
by Frank J. Oteri - Chamber Music America
... piano to fashion his dense and seemingly counterintuitive polyrhythms. Gann, who has produced a whole series of similar Disklavier études, has benefited from the emergence of new generation of performers much better equipped to handle such fare. So Gann’s off-kilter grooves, written for human player ...
... piano to fashion his dense and seemingly counterintuitive polyrhythms. Gann, who has produced a whole series of similar Disklavier études, has benefited from the emergence of new generation of performers much better equipped to handle such fare. So Gann’s off-kilter grooves, written for human player ...
Adding New Pitches
... and fifths (3/2), to include larger number ratios (higher overtones). Many have formed groups or institutes to further the study and practice of pure tuning. American composer Harry Partch could be described as the father of American modern just intonation. He expanded the range of acceptably small ...
... and fifths (3/2), to include larger number ratios (higher overtones). Many have formed groups or institutes to further the study and practice of pure tuning. American composer Harry Partch could be described as the father of American modern just intonation. He expanded the range of acceptably small ...
Notation in the Works of Luciano Berio
... anything that defines a piece of music more narrowly. With a working definition of notation in reach, we proceed to attempt the previous inquiry regarding the dual nature of compositional and notational innovation. Considering the above example, In C, a single page of music representing up to an ho ...
... anything that defines a piece of music more narrowly. With a working definition of notation in reach, we proceed to attempt the previous inquiry regarding the dual nature of compositional and notational innovation. Considering the above example, In C, a single page of music representing up to an ho ...
A master`s recital in flute - UNI ScholarWorks
... B section, where the first flute introduces a trill motive that is highly diatonic. The three flutes interact in a canonic style. The repetition and subtle harmonic motion give a sense of minimalism to this section. The intensity increases as all three flutes gradually ascend to a higher tessitura. ...
... B section, where the first flute introduces a trill motive that is highly diatonic. The three flutes interact in a canonic style. The repetition and subtle harmonic motion give a sense of minimalism to this section. The intensity increases as all three flutes gradually ascend to a higher tessitura. ...
Music Vocabulary Review PP
... melodic and rhythmic alterations to present new interpretations of the melody. • Question: This affects or is affected by (A) Melody, (B) Harmony, (C) Rhythm or (D) Form, (E) A and B? • Why? ...
... melodic and rhythmic alterations to present new interpretations of the melody. • Question: This affects or is affected by (A) Melody, (B) Harmony, (C) Rhythm or (D) Form, (E) A and B? • Why? ...
If you can sing “Joy to the World” you can learn to
... To learn to read and sing Gregorian Chant we are going to deconstruct modern music and strip it down to its bare bones, abandoning many of the things you worked hard to learn to understand and use. This may frustrate you at first - for example, removing two sharps from the key signature, as we are g ...
... To learn to read and sing Gregorian Chant we are going to deconstruct modern music and strip it down to its bare bones, abandoning many of the things you worked hard to learn to understand and use. This may frustrate you at first - for example, removing two sharps from the key signature, as we are g ...
the use of traditional japanese music
... together elements of Japanese and Western music in their works, much like Noda accomplished in his own compositions for saxophone. Among the composers who wrote pieces for Ryo Noda in this stylistic genre is Joji Yuasa, who in 1976 dedicated Not I, but the wind… to Noda.8 Since Noda’s introduction ...
... together elements of Japanese and Western music in their works, much like Noda accomplished in his own compositions for saxophone. Among the composers who wrote pieces for Ryo Noda in this stylistic genre is Joji Yuasa, who in 1976 dedicated Not I, but the wind… to Noda.8 Since Noda’s introduction ...
Estimating Resemblance of MIDI Documents
... up by one octave), the resulting piece would be subjectively similar, yet these two pieces would be deemed different by the computation described above. Ignoring octaves clearly resolves this problem. These examples demonstrate the difficulty involved in both adequately defining and calculating musical ...
... up by one octave), the resulting piece would be subjectively similar, yet these two pieces would be deemed different by the computation described above. Ignoring octaves clearly resolves this problem. These examples demonstrate the difficulty involved in both adequately defining and calculating musical ...
The Devolution of the Shepherd Trumpet and Its Seminal
... actually sung in Europe), existing chants were analyzed. They were shuffled into this new theoretical system and with a few exceptions, fit in easily.9 The musical system as described by Hucbald and others might be rather disconcerting to the trained musician of today. This is due to the final (last no ...
... actually sung in Europe), existing chants were analyzed. They were shuffled into this new theoretical system and with a few exceptions, fit in easily.9 The musical system as described by Hucbald and others might be rather disconcerting to the trained musician of today. This is due to the final (last no ...
Glossary - terms used in music analysis
... Contrapuntal - a style of music which makes use of counterpoint. Similar in meaning to polyphonic. Counterpoint - two or more lines of melody heard simultaneously, in a way that makes musical sense. Cycle of fifths - a progression of chords whose roots fall a 5th (or rise a 4th). Also called “Circle ...
... Contrapuntal - a style of music which makes use of counterpoint. Similar in meaning to polyphonic. Counterpoint - two or more lines of melody heard simultaneously, in a way that makes musical sense. Cycle of fifths - a progression of chords whose roots fall a 5th (or rise a 4th). Also called “Circle ...
MTO 15.2: Brown, Axis Tonality
... Stravinsky’s Symphony of Psalms, Straus posits an axis comprising the notes E-G-B-D (in other words, an E minor triad overlapping with a G major triad). As Figure 3 illustrates, this axis underlies the movement’s large-scale tonal trajectory, which leads from the lower portion of the axis (the E mi ...
... Stravinsky’s Symphony of Psalms, Straus posits an axis comprising the notes E-G-B-D (in other words, an E minor triad overlapping with a G major triad). As Figure 3 illustrates, this axis underlies the movement’s large-scale tonal trajectory, which leads from the lower portion of the axis (the E mi ...
ATAR Year 12 Western Art Music sample assessment tasks
... the correct transposed option (from three possible options) by placing a tick in the appropriate box. (1 mark) ...
... the correct transposed option (from three possible options) by placing a tick in the appropriate box. (1 mark) ...
Debussy`s Corner of Paris 1908
... than this. If we think back to the C major scale, we feel grounded because of that pattern of whole and half steps ending with the leading-tone. The whole-tone scale, by contrast, has no grittiness to it. All the intervals are the same. Another way of looking at the scale is to say that it divides t ...
... than this. If we think back to the C major scale, we feel grounded because of that pattern of whole and half steps ending with the leading-tone. The whole-tone scale, by contrast, has no grittiness to it. All the intervals are the same. Another way of looking at the scale is to say that it divides t ...
Possible Paths - Music Theory Online
... the 4/4/4 hypermeter and the twelve-measure chorus. 4/4/4 and TC do not exhibit any obvious phrase structure beyond the hypermetrical level. The schemata are defined exhaustively—in theory, every chorus can fit into one category or another, and most are easy to classify. However, when phrasing facto ...
... the 4/4/4 hypermeter and the twelve-measure chorus. 4/4/4 and TC do not exhibit any obvious phrase structure beyond the hypermetrical level. The schemata are defined exhaustively—in theory, every chorus can fit into one category or another, and most are easy to classify. However, when phrasing facto ...
isomorphic tessellations for musical keyboards
... If melody is said to be the horizontal aspect of music, then harmony is the vertical aspect. Harmony is the instantaneous use of two or more simultaneous tones. All chords are in fact a musical harmony. There are infinite amounts of harmonies that can be achieved through any number of discrete tones ...
... If melody is said to be the horizontal aspect of music, then harmony is the vertical aspect. Harmony is the instantaneous use of two or more simultaneous tones. All chords are in fact a musical harmony. There are infinite amounts of harmonies that can be achieved through any number of discrete tones ...
karnATik Glossary
... varisais, geetams, swarajatis, jatiswarams, and also varnams afternoon raaga - a raaga to be performed in the afternoon, from about 1-4 pm, such as mukhaari or bEgaDa agni - meaning Fire or the God of Fire, it is the 3rd cakra, with M1, R1, and D3, comprising melakartas 1318 akaaram - using aaaa... ...
... varisais, geetams, swarajatis, jatiswarams, and also varnams afternoon raaga - a raaga to be performed in the afternoon, from about 1-4 pm, such as mukhaari or bEgaDa agni - meaning Fire or the God of Fire, it is the 3rd cakra, with M1, R1, and D3, comprising melakartas 1318 akaaram - using aaaa... ...
- Kingston University Research Repository
... The final two chords of the movement are variants of the wholetone chord, which seems to be the defining sonority in this movement. In Ligeti’s music of the 1960s he would have avoided using superimposed fourth and triadic harmony types, but otherwise the overall textural and timbral effect is quit ...
... The final two chords of the movement are variants of the wholetone chord, which seems to be the defining sonority in this movement. In Ligeti’s music of the 1960s he would have avoided using superimposed fourth and triadic harmony types, but otherwise the overall textural and timbral effect is quit ...
Beethoven`s “violation”: his cadenza for the first movement of
... Beethoven was known especially to have admired Mozart’s Concerto in D Minor—now No. 20, K. 466; and so it has become customary to imagine that this was the work he performed.1 As Mozart scholars know, the D-Minor Concerto is one of the six late piano concertos for which no written cadenzas by the co ...
... Beethoven was known especially to have admired Mozart’s Concerto in D Minor—now No. 20, K. 466; and so it has become customary to imagine that this was the work he performed.1 As Mozart scholars know, the D-Minor Concerto is one of the six late piano concertos for which no written cadenzas by the co ...
PACOTE 7.indd - Portal de Periódicos da UnB
... was the first of three piano sonatas that he was to write over a span of thirty years.1 Shortly after its premiere, Ginastera’s first piano sonata was incorporated into the standard piano repertory, becoming one of his most widely performed works. With respect to the musical language used in this so ...
... was the first of three piano sonatas that he was to write over a span of thirty years.1 Shortly after its premiere, Ginastera’s first piano sonata was incorporated into the standard piano repertory, becoming one of his most widely performed works. With respect to the musical language used in this so ...
an analytical conductor`s guide to the satb a cappella works of arvo
... and individually chosen to match the number of syllables, the accent of a syllable, and the word's position within a phrase. One example of this is Missa Syllabica (1977), which is one of Part's earliest tintinnabular choral works. In this work, each word begins or ends on a central pitch (the M-voi ...
... and individually chosen to match the number of syllables, the accent of a syllable, and the word's position within a phrase. One example of this is Missa Syllabica (1977), which is one of Part's earliest tintinnabular choral works. In this work, each word begins or ends on a central pitch (the M-voi ...
Tonal desires
... Expanded modal resources: the “Pressing scales” As noted earlier, Body’s local-level pitch collections are almost always scalar in construction. These scales are usually formed from the same expanded resources that were introduced into the Western canon by early twentiethcentury Franco-Russian compo ...
... Expanded modal resources: the “Pressing scales” As noted earlier, Body’s local-level pitch collections are almost always scalar in construction. These scales are usually formed from the same expanded resources that were introduced into the Western canon by early twentiethcentury Franco-Russian compo ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.