Dissonant Harmony and “Seed-Tones”
... Frenchman's “rejection of reason” had a liberating effect on Crawford’s compositional development, causing her to disdain counterpoint and to experiment with the symbolic, mystical power of the single tone (Tick 1997, 50, 72, and 83). Similarly, Carol Oja paints Rudhyar as “a high priest . . . explo ...
... Frenchman's “rejection of reason” had a liberating effect on Crawford’s compositional development, causing her to disdain counterpoint and to experiment with the symbolic, mystical power of the single tone (Tick 1997, 50, 72, and 83). Similarly, Carol Oja paints Rudhyar as “a high priest . . . explo ...
Troubles with Tonal Terminology
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
Expanded tonality - Scholar Commons
... emphasize the dominant as well as the tonic. This compositional technique, coined by David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a ...
... emphasize the dominant as well as the tonic. This compositional technique, coined by David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a ...
Modelling the similarity of pitch collections with expec
... vectors are based only on the pitch distances between elements in matching positions in the two vectors. For this reason, such pitch metrics are meaningful only when each tone in one pitch collection has a privileged relationship with a unique tone in another pitch collection; for example, when each ...
... vectors are based only on the pitch distances between elements in matching positions in the two vectors. For this reason, such pitch metrics are meaningful only when each tone in one pitch collection has a privileged relationship with a unique tone in another pitch collection; for example, when each ...
Modelling the similarity of pitch collections with expectation tensors
... vectors are based only on the pitch distances between elements in matching positions in the two vectors. For this reason, such pitch metrics are meaningful only when each tone in one pitch collection has a privileged relationship with a unique tone in another pitch collection; for example, when each ...
... vectors are based only on the pitch distances between elements in matching positions in the two vectors. For this reason, such pitch metrics are meaningful only when each tone in one pitch collection has a privileged relationship with a unique tone in another pitch collection; for example, when each ...
The perception of interleaved melodies
... University students (ages 29-25) who volunteered because of their interest in music. Four OS were proficient on a musical instrument. All six OS possessed recordings of Baroque music diplayed melodic fission effects, typically Bach’s Brandenburg Concertos. All OS professed familiarity with the tunes ...
... University students (ages 29-25) who volunteered because of their interest in music. Four OS were proficient on a musical instrument. All six OS possessed recordings of Baroque music diplayed melodic fission effects, typically Bach’s Brandenburg Concertos. All OS professed familiarity with the tunes ...
Stephanie Reusch Paper 2 Composers use several types of non
... eighth notes and quarter notes all containing chord tones dictate the harmony, but Mozart creates an incredibly busy texture in the right hand by writing a constant stream of 16th notes filled with just as many non-chord tones as chord tones, if not more. Most of the non-chord tones seem to be neigh ...
... eighth notes and quarter notes all containing chord tones dictate the harmony, but Mozart creates an incredibly busy texture in the right hand by writing a constant stream of 16th notes filled with just as many non-chord tones as chord tones, if not more. Most of the non-chord tones seem to be neigh ...
Psychology and Music - Diana Deutsch
... in the collocation of letters in language. For it is not every collocation but only certain collocations of any given letters that will produce a syllable. ...
... in the collocation of letters in language. For it is not every collocation but only certain collocations of any given letters that will produce a syllable. ...
Tonal Atonality: An Analysis of Samuel Barber`s
... technique by taking each of the 12 notes in an octave and arranging them into a set called a “tone 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 ...
... technique by taking each of the 12 notes in an octave and arranging them into a set called a “tone 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 ...
PDF text - Music Theory Online
... that the tones’ rhythmic placement with respect to each other is perceived entirely differently: listeners can tell that one stream contains a faster rhythm than the other, but they cannot hear the galloping rhythm. The words “over time” are in Bregman’s definition of ASA are key. Consecutive tones ...
... that the tones’ rhythmic placement with respect to each other is perceived entirely differently: listeners can tell that one stream contains a faster rhythm than the other, but they cannot hear the galloping rhythm. The words “over time” are in Bregman’s definition of ASA are key. Consecutive tones ...
On Tonal Dynamics and Musical Meaning - Signata
... So far, we have only tried to uncontroversially (re)organize some trivial but important aspects of tonal architecture and modulation. his body of Pythagorean tonal doxa, however, leaves out some elementary and semiotically interesting questions. First of all, what are the grounds for the anchoring o ...
... So far, we have only tried to uncontroversially (re)organize some trivial but important aspects of tonal architecture and modulation. his body of Pythagorean tonal doxa, however, leaves out some elementary and semiotically interesting questions. First of all, what are the grounds for the anchoring o ...
Music, Cognition, and Computerized Sound: Chap14
... higher pitch is an octave above the tone of lower pitch. If the third harmonic partial of the lower tone beats with the second harmonic partial of the upper tone, the pitch frequencies of the lower and upper tones are in the ratio 2:3 and the musical interval is the fifth. Beats are the chief means ...
... higher pitch is an octave above the tone of lower pitch. If the third harmonic partial of the lower tone beats with the second harmonic partial of the upper tone, the pitch frequencies of the lower and upper tones are in the ratio 2:3 and the musical interval is the fifth. Beats are the chief means ...
Lesson EEE: The Dominant Seventh Chord
... Have students resolve the identified tritones from the previous activity. Using the same examples will hopefully reinforce the continuity of the lesson.] There remain, however, two other notes in the V7 chord: the root (5) and the fifth (2). These two voices, forming a fifth in the V7 chord, usually ...
... Have students resolve the identified tritones from the previous activity. Using the same examples will hopefully reinforce the continuity of the lesson.] There remain, however, two other notes in the V7 chord: the root (5) and the fifth (2). These two voices, forming a fifth in the V7 chord, usually ...
11( 31 11 ( 11( 31 11 ( 31 11 31
... how we view our music today, because they took chants based on the ancient Tones, simplified them, and harmonized them according to Western music theory. The melodies may have been based on the Byzantine tradition, but the major and minor triads these arrangers used actually obscured the musical pro ...
... how we view our music today, because they took chants based on the ancient Tones, simplified them, and harmonized them according to Western music theory. The melodies may have been based on the Byzantine tradition, but the major and minor triads these arrangers used actually obscured the musical pro ...
a PDF version of this work.
... uses tones outside of the background tonic chord. Additional uses of passing tones and accented passing tones are found in measure 132 where there is a line that moves chromatically up from D #5 to F #5. In this instance, non-harmonic tones are used to project the melody, which takes precedence over ...
... uses tones outside of the background tonic chord. Additional uses of passing tones and accented passing tones are found in measure 132 where there is a line that moves chromatically up from D #5 to F #5. In this instance, non-harmonic tones are used to project the melody, which takes precedence over ...
Pitch
... much a part of a word’s iden4ty as are the vowels and consonants, so that changing the pitch can completely change the meaning of the word.” • Over half the world’s languages are tone languages ...
... much a part of a word’s iden4ty as are the vowels and consonants, so that changing the pitch can completely change the meaning of the word.” • Over half the world’s languages are tone languages ...
f 1 - Jacobs University Mathematics
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
A Derivation of the Rules of Voice-leading from Perceptual Principles
... precise with respect to log-frequency and the frequencies of the two tones are harmonically related. Tonal fusion is next most salient when co-modulation is precise with respect to logfrequency and the frequencies of the two tones are not harmonically related. Finally, tonal fusion is next most sali ...
... precise with respect to log-frequency and the frequencies of the two tones are harmonically related. Tonal fusion is next most salient when co-modulation is precise with respect to logfrequency and the frequencies of the two tones are not harmonically related. Finally, tonal fusion is next most sali ...
Artistic Song Leading (Lesson 1)
... half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. By changing the first note, then using the pattern as a guide, you can construct ...
... half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. By changing the first note, then using the pattern as a guide, you can construct ...
Pitch
... much a part of a word’s iden4ty as are the vowels and consonants, so that changing the pitch can completely change the meaning of the word.” • Over half the world’s languages are tone languages ...
... much a part of a word’s iden4ty as are the vowels and consonants, so that changing the pitch can completely change the meaning of the word.” • Over half the world’s languages are tone languages ...
Whole tone scale
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
Category 5 4 3 2 1 Tone Quality Tone is consistently focused, clear
... sometimes cause tone to be less controlled. Tone quality does not detract from the performance. ...
... sometimes cause tone to be less controlled. Tone quality does not detract from the performance. ...
Unobtrusive practice tools for pianists
... slightly varying pitches, but with the same pitch contour. The student wants to know what it is that makes these figures sound irregular, dull, or the opposite – swinging and vibrant. Our interface automatically identifies the above pattern after typically 2 or 3 repetitions and displays the timing ...
... slightly varying pitches, but with the same pitch contour. The student wants to know what it is that makes these figures sound irregular, dull, or the opposite – swinging and vibrant. Our interface automatically identifies the above pattern after typically 2 or 3 repetitions and displays the timing ...
Elements of Music
... c. When the structure of a melody changes, the harmonic structure changes accordingly. d. A given melody may be harmonized in several ways. 4. Melodies having the same harmonic structure may be combined. a. When the nature of a melody is such that it can be performed in two or more parts starting at ...
... c. When the structure of a melody changes, the harmonic structure changes accordingly. d. A given melody may be harmonized in several ways. 4. Melodies having the same harmonic structure may be combined. a. When the nature of a melody is such that it can be performed in two or more parts starting at ...