Dissonant Harmony and “Seed-Tones”
... the other acknowledged leader of the ultra-moderns, Charles Seeger. While the latter developed a “systematic theory of ‘dissonant counterpoint,’” Rudhyar “expressed little interest in systems of any kind, preferring poetic odysseys” (Oja 1999, 130). Moreover, Oja claims, “In explaining his concept o ...
... the other acknowledged leader of the ultra-moderns, Charles Seeger. While the latter developed a “systematic theory of ‘dissonant counterpoint,’” Rudhyar “expressed little interest in systems of any kind, preferring poetic odysseys” (Oja 1999, 130). Moreover, Oja claims, “In explaining his concept o ...
Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
A Theory of Tonal Hierarchies in Music
... We suggest that not only do cognitive reference points function similarly in music, but also they may be especially important there. This is because music does not provide fixed reference tones except as determined by the music itself. Thus, unlike other domains in which cognitive reference points a ...
... We suggest that not only do cognitive reference points function similarly in music, but also they may be especially important there. This is because music does not provide fixed reference tones except as determined by the music itself. Thus, unlike other domains in which cognitive reference points a ...
Modelling the similarity of pitch collections with expectation tensors
... and have an associated weighting vector (.9, .6, .6, .9), there is probability of .9 the first tone will be heard (in ten trials, it is expected that that tone will be heard nine times); there is a probability of .6 the second tone will be heard (in ten trials, it is expected that that tone will be ...
... and have an associated weighting vector (.9, .6, .6, .9), there is probability of .9 the first tone will be heard (in ten trials, it is expected that that tone will be heard nine times); there is a probability of .6 the second tone will be heard (in ten trials, it is expected that that tone will be ...
Modelling the similarity of pitch collections with expec
... and have an associated weighting vector (.9, .6, .6, .9), there is probability of .9 the first tone will be heard (in ten trials, it is expected that that tone will be heard nine times); there is a probability of .6 the second tone will be heard (in ten trials, it is expected that that tone will be ...
... and have an associated weighting vector (.9, .6, .6, .9), there is probability of .9 the first tone will be heard (in ten trials, it is expected that that tone will be heard nine times); there is a probability of .6 the second tone will be heard (in ten trials, it is expected that that tone will be ...
PDF text - Music Theory Online
... source) is most strongly influenced by factors with a temporal dimension: If several tones rise or fall simultaneously in pitch or volume, they are likely to be grouped together; and if they have simultaneous onset they are also likely to be grouped together. If a series of tones is repeated over ti ...
... source) is most strongly influenced by factors with a temporal dimension: If several tones rise or fall simultaneously in pitch or volume, they are likely to be grouped together; and if they have simultaneous onset they are also likely to be grouped together. If a series of tones is repeated over ti ...
Pitch
... • The majority of the world’s tone languages have only level tones, usually 2-‐3. • Level tones are most comparable to music. • Contour tones are quite common in four-‐tone systems. • The maximum ...
... • The majority of the world’s tone languages have only level tones, usually 2-‐3. • Level tones are most comparable to music. • Contour tones are quite common in four-‐tone systems. • The maximum ...
Tonal Atonality: An Analysis of Samuel Barber`s
... row” in which each note appears only once (Griffiths). To make arranging the notes easier, he used a number system instead of note names. The English equivalent of this numbering system (wherein 0 is C, 1 is C sharp, and so on) is 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, t, e. “t” and “e” are shortened version ...
... row” in which each note appears only once (Griffiths). To make arranging the notes easier, he used a number system instead of note names. The English equivalent of this numbering system (wherein 0 is C, 1 is C sharp, and so on) is 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, t, e. “t” and “e” are shortened version ...
Music, Cognition, and Computerized Sound: Chap14
... smaller and smaller, the ratios of the fundamental or pitch frequencies of the beating tones will be given by the ratios of the harmonics of the tones that are beating. Thus, if the second harmonic of the lower tone beats with the fundamental of the upper tone, the tone of higher pitch is an octave ...
... smaller and smaller, the ratios of the fundamental or pitch frequencies of the beating tones will be given by the ratios of the harmonics of the tones that are beating. Thus, if the second harmonic of the lower tone beats with the fundamental of the upper tone, the tone of higher pitch is an octave ...
a PDF version of this work.
... are employed in the Mazurka in measure 173. In this piece two double neighboring tones are placed on the strong portion of the beat, while the chord tones are placed on the weak portion of the beat. Neighboring tones are fairly rare as they are static, and do not advance the individual line. It is r ...
... are employed in the Mazurka in measure 173. In this piece two double neighboring tones are placed on the strong portion of the beat, while the chord tones are placed on the weak portion of the beat. Neighboring tones are fairly rare as they are static, and do not advance the individual line. It is r ...
Pitch
... • The majority of the world’s tone languages have only level tones, usually 2-‐3. • Level tones are most comparable to music. • Contour tones are quite common in four-‐tone systems. • The maximum ...
... • The majority of the world’s tone languages have only level tones, usually 2-‐3. • Level tones are most comparable to music. • Contour tones are quite common in four-‐tone systems. • The maximum ...
f 1 - Jacobs University Mathematics
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
Lesson EEE: The Dominant Seventh Chord
... In this example, the soprano has the leading tone in the V7 chord. That leading tone must resolve upward because there is no surrogate resolution in that register, as there was in the lower register in Example 12. In Example 13, the leading tone goes unresolved. The second reason for the permissibil ...
... In this example, the soprano has the leading tone in the V7 chord. That leading tone must resolve upward because there is no surrogate resolution in that register, as there was in the lower register in Example 12. In Example 13, the leading tone goes unresolved. The second reason for the permissibil ...
Beginning to Learn the Byzantine Musical System Using Western
... (a Plagal form of Third Tone), and Plagal Fourth Tone. The plagal forms are modally related to their authentic counterparts and may differ slightly in their tonic and dominant tones as well as their melodic formulas. Melodic Formulas. Byzantine chant has a lexicon of melodic formulas for every mode ...
... (a Plagal form of Third Tone), and Plagal Fourth Tone. The plagal forms are modally related to their authentic counterparts and may differ slightly in their tonic and dominant tones as well as their melodic formulas. Melodic Formulas. Byzantine chant has a lexicon of melodic formulas for every mode ...
11( 31 11 ( 11( 31 11 ( 31 11 31
... Most Greek Orthodox church musicians have seen references to “tones” and “modes” in liturgical texts and choir music. But many ask the question, “What are they?” How do you recognize one tone from another? What exactly is a mode? Are modes and tones the same thing? Why do chanters use those squiggly ...
... Most Greek Orthodox church musicians have seen references to “tones” and “modes” in liturgical texts and choir music. But many ask the question, “What are they?” How do you recognize one tone from another? What exactly is a mode? Are modes and tones the same thing? Why do chanters use those squiggly ...
Band 8/9 Playing Tests BUGS Individual test – FEBRUARY 25
... Attacks are usually secure, though there might be an isolated error. Markings are executed accurately as directed by the score and/or the conductor. Dynamic levels are typically accurate and consistent. ...
... Attacks are usually secure, though there might be an isolated error. Markings are executed accurately as directed by the score and/or the conductor. Dynamic levels are typically accurate and consistent. ...
Western music history, pitch salience, key profiles, and the origins of
... 2-part counterpoint, discant improvisation ...
... 2-part counterpoint, discant improvisation ...
7 PITCH AND TIMBRE
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
Elements of Music
... b. When one or more of the elements of music are repeated identically while at the same time one or more are altered, both unity and contrast are created within the composition. c. When sets of melodic and/or rhythmic groupings are repeated within one or more phrases, they become Identifiable patter ...
... b. When one or more of the elements of music are repeated identically while at the same time one or more are altered, both unity and contrast are created within the composition. c. When sets of melodic and/or rhythmic groupings are repeated within one or more phrases, they become Identifiable patter ...
Brief background The tonal hierarchy The first probe tone study
... Three different chord cadences sounded in both major and minor keys to see whether analogous patterns would be found for the two modes a variety of different tonal centers or keys were used to make sure that our findings in the first experiment did not depend on the choice of C as the toni ...
... Three different chord cadences sounded in both major and minor keys to see whether analogous patterns would be found for the two modes a variety of different tonal centers or keys were used to make sure that our findings in the first experiment did not depend on the choice of C as the toni ...
study guide - Junior High Band
... a. Movement between guide tones should be either by half or whole step. (Occasionally there will be places where you need to use a chord tone other than a third or seventh to keep the movement of the line within a step or half step.) b. Thirds of one chord often become the seventh (sometimes altered ...
... a. Movement between guide tones should be either by half or whole step. (Occasionally there will be places where you need to use a chord tone other than a third or seventh to keep the movement of the line within a step or half step.) b. Thirds of one chord often become the seventh (sometimes altered ...
lecture15
... •Pitch (as well as loudness) is a subjective characteristic of sound – Some listeners even assign pitch differently depending upon whether the sound was presented to the right or left ear •Pitch characterize how high or low is sound •Pitch is mainly (but not only) determent by the fundamental freque ...
... •Pitch (as well as loudness) is a subjective characteristic of sound – Some listeners even assign pitch differently depending upon whether the sound was presented to the right or left ear •Pitch characterize how high or low is sound •Pitch is mainly (but not only) determent by the fundamental freque ...
Whole tone scale
... minor chords a half step down, so in the example below, a B whole tone scale over a Cmin7 chord. But be warned, you have to have faith and be brave to make this work. It is a method for playing outside but can also be legitimized if you feel the need. Why does this work? Let's superimpose the scale ...
... minor chords a half step down, so in the example below, a B whole tone scale over a Cmin7 chord. But be warned, you have to have faith and be brave to make this work. It is a method for playing outside but can also be legitimized if you feel the need. Why does this work? Let's superimpose the scale ...
Background Tone Test Interval Test Hypotheses Procedure Findings
... Stimuli recorded from 4 Native Mandarin speakers from China (3 female, 1 male). Words: monosyllables (‘ka’, ‘ma’, ‘di’) spoken with each of four tones (Figure 1). • Some were real Mandarin words, some were not. Trials: two words with the same syllable (e.g., ‘ka’). • Same tone (40%) or different ton ...
... Stimuli recorded from 4 Native Mandarin speakers from China (3 female, 1 male). Words: monosyllables (‘ka’, ‘ma’, ‘di’) spoken with each of four tones (Figure 1). • Some were real Mandarin words, some were not. Trials: two words with the same syllable (e.g., ‘ka’). • Same tone (40%) or different ton ...