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Dissonant Harmony and “Seed-Tones”
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 ...
Troubles with Tonal Terminology
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 ...
Expanded tonality - Scholar Commons
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 ...
Modelling the similarity of pitch collections with expec
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 ...
Modelling the similarity of pitch collections with expectation tensors
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 ...
The perception of interleaved melodies
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 ...
Stephanie Reusch Paper 2 Composers use several types of non
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 ...
Psychology and Music - Diana Deutsch
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. ...
Tonal Atonality: An Analysis of Samuel Barber`s
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 ...
PDF text - Music Theory Online
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 ...
On Tonal Dynamics and Musical Meaning - Signata
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 ...
Music, Cognition, and Computerized Sound: Chap14
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 ...
Lesson EEE: The Dominant Seventh Chord
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 ...
11( 31 11 ( 11( 31 11 ( 31 11 31
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 ...
a PDF version of this work.
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 ...
Pitch
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 ...
f 1 - Jacobs University Mathematics
f 1 - Jacobs University Mathematics

... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
A Derivation of the Rules of Voice-leading from Perceptual Principles
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 ...
Artistic Song Leading (Lesson 1)
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 ...
Pitch
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 ...
Whole tone scale
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 ...
Category 5 4 3 2 1 Tone Quality Tone is consistently focused, clear
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. ...
Unobtrusive practice tools for pianists
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 ...
Sound - Pitch, Dynamics, and Tone Color
Sound - Pitch, Dynamics, and Tone Color

... recognizing the four main properties of musical ...
Elements of Music
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 ...
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Tone (linguistics)

Tone is the use of pitch in language to distinguish lexical or grammatical meaning – that is, to distinguish or to inflect words. All verbal languages use pitch to express emotional and other paralinguistic information and to convey emphasis, contrast, and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously to consonants and vowels. Languages that do have this feature are called tonal languages; the distinctive tone patterns of such a language are sometimes called tonemes /ˈtoʊniːm/, by analogy with phoneme. Tonal languages are extremely common in Africa, East Asia, and Central America, but rare elsewhere in Asia and in Europe; as many as seventy percent of world languages may be tonal.In many tonal African languages, such as most Bantu languages, tones are distinguished by their pitch level relative to each other, known as a register tone system. In multi-syllable words, a single tone may be carried by the entire word, rather than a different tone on each syllable. Often grammatical information, such as past versus present, ""I"" versus ""you"", or positive versus negative, is conveyed solely by tone.In the most widely spoken tonal language, Mandarin Chinese, tones are distinguished by their distinctive shape, known as contour, with each tone having a different internal pattern of rising and falling pitch. Many words, especially those that are monosyllabic, are differentiated solely by tone. In a multisyllabic word each syllable often carries its own tone. Unlike in Bantu systems, tone plays little role in modern Chinese grammar, though the tones descend from features in Old Chinese that did have morphological significance (e.g. changing a verb to a noun or vice versa).Contour systems are typical of languages of the Mainland Southeast Asia linguistic area, including Tai–Kadai, Vietic and Sino-Tibetan languages. The Afroasiatic, Khoisan, Niger-Congo and Nilo-Saharan languages spoken in Africa are dominated by register systems. Some languages combine both systems, such as Cantonese, which produces three varieties of contour tone at three different pitch levels, and the Omotic (Afroasiatic) language Bench, which employs five level tones and one or two rising tones across levels.Many languages use tone in a more limited way. In Japanese, fewer than half of the words have a drop in pitch; words contrast according to which syllable this drop follows. Such minimal systems are sometimes called pitch accent, since they are reminiscent of stress accent languages, which typically allow one principal stressed syllable per word. However, there is debate over the definition of pitch accent, and whether a coherent definition is even possible.
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