Listening Log for Music Theory Lorna Spar 22 November 2013
... vocabulary and chromaticism than the early Common Practice Period. During this period, a greater variety of form concepts were being created and used. The expansion of pitch vocabulary to include chromatic pitches along with the diatonic pitches already in the keys is important because they are used ...
... vocabulary and chromaticism than the early Common Practice Period. During this period, a greater variety of form concepts were being created and used. The expansion of pitch vocabulary to include chromatic pitches along with the diatonic pitches already in the keys is important because they are used ...
Tonal desires
... major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in true dodecaphonic practice. Instead, it follows on m ...
... major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in true dodecaphonic practice. Instead, it follows on m ...
The Influence of Gregorian Chant on Morten Lauridsen`s O Magnum
... Few aspects of prehistoric music can be assumed. Predating the writings and treatises of the 9th century, the most reliable source of music performance practice and theory in antiquity was the treatise De Institutione Musica by Boethius (c. 525), with the cuneiform writings of the Babylonians (and ...
... Few aspects of prehistoric music can be assumed. Predating the writings and treatises of the 9th century, the most reliable source of music performance practice and theory in antiquity was the treatise De Institutione Musica by Boethius (c. 525), with the cuneiform writings of the Babylonians (and ...
Pitch Drift in Choral Music - CCRMA
... by the equal temperament, and some did not. If these five people sing in a group, the intonation will not be either of the just intonation or the equal temperament, which is very realistic. For the test 2, the sensation of pitch drift was various too. While most of people perceived the pitch falling ...
... by the equal temperament, and some did not. If these five people sing in a group, the intonation will not be either of the just intonation or the equal temperament, which is very realistic. For the test 2, the sensation of pitch drift was various too. While most of people perceived the pitch falling ...
Early Polyphony - Scott Foglesong
... Florid (Melismatic) Organum • Probably somewhat later style than parallel • Melisma: passages with many notes set to a single syllable of text. Plural melismata; adjective melismatic. ...
... Florid (Melismatic) Organum • Probably somewhat later style than parallel • Melisma: passages with many notes set to a single syllable of text. Plural melismata; adjective melismatic. ...
PDF text - Music Theory Online
... meantone temperament, the discrepancy between the pitches D and E (or any other pair that are enharmonically equivalent in 12-tone equal temperament—i.e., any pair lying twelve steps distant from one another in a chain of perfect 5ths) is almost exactly one fifth of the whole tone; the two pitches l ...
... meantone temperament, the discrepancy between the pitches D and E (or any other pair that are enharmonically equivalent in 12-tone equal temperament—i.e., any pair lying twelve steps distant from one another in a chain of perfect 5ths) is almost exactly one fifth of the whole tone; the two pitches l ...
MUSIC IN LATE-MEDIEVAL CULTURE 1100-1500
... Charlemagne) • Notating chant fixed an oral tradition • but it was constantly changing ...
... Charlemagne) • Notating chant fixed an oral tradition • but it was constantly changing ...
Music History and Literature Exemplar 2
... creates the image of clouds drifting by. Sometimes, the music is sweet and flowing, and other times, it has a hint of a sinister sound, all portraying the different clouds that could float by during a day. Sometimes the clouds can be peaceful and pretty, and other times, they can be dark and gloomy ...
... creates the image of clouds drifting by. Sometimes, the music is sweet and flowing, and other times, it has a hint of a sinister sound, all portraying the different clouds that could float by during a day. Sometimes the clouds can be peaceful and pretty, and other times, they can be dark and gloomy ...
the division of the monochord according
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
Medieval music - WordPress.com
... which used the rhythmic modes to create the pinnacle of organum composition.This final stage of organum is sometimes referred to as Notre Dame school of polyphony, since that was where Léonin (and his student Pérotin) were stationed. Furthermore, this kind of polyphony influenced all subsequent styl ...
... which used the rhythmic modes to create the pinnacle of organum composition.This final stage of organum is sometimes referred to as Notre Dame school of polyphony, since that was where Léonin (and his student Pérotin) were stationed. Furthermore, this kind of polyphony influenced all subsequent styl ...
organum - Tistory
... Early styles maintained primary intervals between voices-perfect 4th, 5th, and 8ves ...
... Early styles maintained primary intervals between voices-perfect 4th, 5th, and 8ves ...
Musica Ficta and
... effects in Monteverdi’s music, although they are in part specific to certain sections of his output. Kantionalsatz – from about 1580/90. ...
... effects in Monteverdi’s music, although they are in part specific to certain sections of his output. Kantionalsatz – from about 1580/90. ...
pacaci
... melodical gestures, join to form subphrases, which join to form phrases etc. When musicians play, they mark the endnings of these tone groups. This rule marks the phrase and subphrase endings by creating minute accelerandos and decelerandos within phrases and subphrases according to a parabolic func ...
... melodical gestures, join to form subphrases, which join to form phrases etc. When musicians play, they mark the endnings of these tone groups. This rule marks the phrase and subphrase endings by creating minute accelerandos and decelerandos within phrases and subphrases according to a parabolic func ...
Trumpet player takes the breath away in premiering
... the presences of the composer, as part of this West Australian Symphony Orchestra concert. As well as being widely regarded as the world’s leading classical trumpet soloist, Hardenberger has an astounding record of commissioning and performing contemporary music. Hakan is in fact the second trumpet ...
... the presences of the composer, as part of this West Australian Symphony Orchestra concert. As well as being widely regarded as the world’s leading classical trumpet soloist, Hardenberger has an astounding record of commissioning and performing contemporary music. Hakan is in fact the second trumpet ...
History of Music, Mr. Robert L. Johnston characters in Western Music?
... d. Wrote in three major forms i. Secular 1. Six books of madrigals a. Who was the composer who used word painting in his madrigals? ii. Sacred 1. Liturgical music 2. Sacred songs 3. Songs of Marian devotion iii. Instrumental e. Wrote for as many as seven vv IV. ...
... d. Wrote in three major forms i. Secular 1. Six books of madrigals a. Who was the composer who used word painting in his madrigals? ii. Sacred 1. Liturgical music 2. Sacred songs 3. Songs of Marian devotion iii. Instrumental e. Wrote for as many as seven vv IV. ...
Week 7 Lecture Notes p.1
... Chant in the Judaic and Islamic traditions also often responsorial and free of fixed meter. Santeria, on the other hand, a combination of Catholocism and African traditional religions, is highly polyrhythmic as well as responsorial. ...
... Chant in the Judaic and Islamic traditions also often responsorial and free of fixed meter. Santeria, on the other hand, a combination of Catholocism and African traditional religions, is highly polyrhythmic as well as responsorial. ...
Lindsey Steinbrunner
... cadences are not as formulated. Some of the most common cadences are cadences in thirds, plagal cadences, and authentic cadences without a leading tone. Sonorities are also modified. For example, tertian harmonies become ninth, eleventh, and thirteenth chords and the dissonances that are created hav ...
... cadences are not as formulated. Some of the most common cadences are cadences in thirds, plagal cadences, and authentic cadences without a leading tone. Sonorities are also modified. For example, tertian harmonies become ninth, eleventh, and thirteenth chords and the dissonances that are created hav ...
Geometry of Harmony and Modes in Vaughan Williams` Romanza
... An important aspect of Romanza is its use of modes for various folk-like melodies, which occur in rapid sequence throughout the piece. This modal aspect of Romanza is frequently cited. See, e.g., the books by Lionel Pike (2003) and Elliott Schwartz (1964). Here, we will identify some of the modes us ...
... An important aspect of Romanza is its use of modes for various folk-like melodies, which occur in rapid sequence throughout the piece. This modal aspect of Romanza is frequently cited. See, e.g., the books by Lionel Pike (2003) and Elliott Schwartz (1964). Here, we will identify some of the modes us ...
File - Lars Rosager
... listener, the unifying effect of the bass pattern can be perceived immediately. The organization of opera arias over a ground was common practice during the time of Purcell, and there were several specific ground patterns from which many composers drew. Not so apparent to an uninformed audience is t ...
... listener, the unifying effect of the bass pattern can be perceived immediately. The organization of opera arias over a ground was common practice during the time of Purcell, and there were several specific ground patterns from which many composers drew. Not so apparent to an uninformed audience is t ...
Word Doc
... Each scale will be worth 5 points for a maximum total of 10 points. One point is awarded in each scale for correct 1) tempo 2) intonation 3) rhythm 4) notes 5) articulation ...
... Each scale will be worth 5 points for a maximum total of 10 points. One point is awarded in each scale for correct 1) tempo 2) intonation 3) rhythm 4) notes 5) articulation ...
Calami sonum ferentes - Rore`s Chromatic Enigma
... fifth, it was recognised at the time that the smaller consonances of a major and minor third did not: Willaert in Venice – ‘ . .when [the major third] is placed in the bass, it seems to make an indefinably dismal effect . . .which offends my ear greatly’. And Claudio Merulo, organist of St Marks – ‘ ...
... fifth, it was recognised at the time that the smaller consonances of a major and minor third did not: Willaert in Venice – ‘ . .when [the major third] is placed in the bass, it seems to make an indefinably dismal effect . . .which offends my ear greatly’. And Claudio Merulo, organist of St Marks – ‘ ...
The History of Emotions in music ppt
... • Is a very major sounding scale. The intervals of the major scale are very similar. • TTSTTTS • The only difference being the intervals between the last two notes. • This would contradict Aristotle's assessment of the mixolydian being a sad and 'mournful' piece. If anything we would associate this ...
... • Is a very major sounding scale. The intervals of the major scale are very similar. • TTSTTTS • The only difference being the intervals between the last two notes. • This would contradict Aristotle's assessment of the mixolydian being a sad and 'mournful' piece. If anything we would associate this ...
Early Medieval Music - Nutley Public Schools
... Long-short (trochee) quarter-eighth Short-long (iamb) eighth-quarter Long-short-short (dactyl) dotted quarter-eighthquarter • Short-short-long (anapaest) quarter-eighth-dotted quarter • Long-long (spondee) dotted quarter-dotted quarter • Short-short-short (tribrach or choree) eighth-eightheighth ...
... Long-short (trochee) quarter-eighth Short-long (iamb) eighth-quarter Long-short-short (dactyl) dotted quarter-eighthquarter • Short-short-long (anapaest) quarter-eighth-dotted quarter • Long-long (spondee) dotted quarter-dotted quarter • Short-short-short (tribrach or choree) eighth-eightheighth ...
Aito kirje
... The harmonica has been important instrument for Finnish folk players since 1850´s. Besides traditional Finnish harmonica style SVÄNG takes influences from all around the world: The unique sounding quartet plays Finnish tango with South-American accent, folk music with the groovy Balkan influence, Sw ...
... The harmonica has been important instrument for Finnish folk players since 1850´s. Besides traditional Finnish harmonica style SVÄNG takes influences from all around the world: The unique sounding quartet plays Finnish tango with South-American accent, folk music with the groovy Balkan influence, Sw ...
The Tetrachord (Ancient)
... spans two octaves. This two-octave span is supposed to be the range of male voice. Rose, in his version of Vitruvius, stated that the lowest note is the A an octave plus two notes below middle C and the highest note was the A above middle C, but he gave no explanation of why he choose it to be this ...
... spans two octaves. This two-octave span is supposed to be the range of male voice. Rose, in his version of Vitruvius, stated that the lowest note is the A an octave plus two notes below middle C and the highest note was the A above middle C, but he gave no explanation of why he choose it to be this ...
Nenano
Phthora nenano (Medieval Greek: φθορά νενανῶ, also νενανὼ) is the name of one of the two ""extra"" modes in the Byzantine Octoechos—an eight mode system, which was created during reforms of the Monastery Agios Sabas, near Jerusalem, and the Stoudiou-Monastery between the seventh and the tenth century.