Anton Heiller`s individual use of twelve tone technique
... Anton Heiller‘s individual use of twelve tone technique Presentation for PhD forum, June 15, 2013 - Peter Planyavsky Between 1950 and 1960, the use of twelve tone composing in liturgical music was something which church music composers had to consider very carefully. Twelve tone music was not percei ...
... Anton Heiller‘s individual use of twelve tone technique Presentation for PhD forum, June 15, 2013 - Peter Planyavsky Between 1950 and 1960, the use of twelve tone composing in liturgical music was something which church music composers had to consider very carefully. Twelve tone music was not percei ...
the materials of melody #2
... we can develop a vocabulary from which to draw as we intuitively improvise. It is very important to remember, though, that the best melodic soloing doesn't come from a studied, intellectual approach to using these musical materials. Melodicism in improvisation or composition reflects not only an awa ...
... we can develop a vocabulary from which to draw as we intuitively improvise. It is very important to remember, though, that the best melodic soloing doesn't come from a studied, intellectual approach to using these musical materials. Melodicism in improvisation or composition reflects not only an awa ...
Early Medieval Music - Nutley Public Schools
... 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-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 ...
urn_nbn_fi_jyu-20
... octatonic scale oct1 is used (C#-D-E-F-G-G#-A#-B-C#) with the exception of the sonority D#-F# in b. 6 - which can be considered the product of chromatic parallel motion between E-G and D-F - and pitch A in b. 7 (see below). Within this space, although chord distance calculations may also be used, vo ...
... octatonic scale oct1 is used (C#-D-E-F-G-G#-A#-B-C#) with the exception of the sonority D#-F# in b. 6 - which can be considered the product of chromatic parallel motion between E-G and D-F - and pitch A in b. 7 (see below). Within this space, although chord distance calculations may also be used, vo ...
History of Music Notation
... Why is chant called Gregorian? • That "Gregorian" chant was named for and credited to Pope Gregory I (r. 590-604) is an accident of politics and spin doctoring. Tension between the Pope (the Bishop of Rome) and other Bishops regarding the authority of the Pope as "first among equals" was matched by ...
... Why is chant called Gregorian? • That "Gregorian" chant was named for and credited to Pope Gregory I (r. 590-604) is an accident of politics and spin doctoring. Tension between the Pope (the Bishop of Rome) and other Bishops regarding the authority of the Pope as "first among equals" was matched by ...
Harvard
... the eerie church "Mixolydian mode" (C-D-E-F-G-A-A#-C) for my intranet version of "The Pathology Blues", on our quizbank. You can also hear the church "Mixolydian mode" in "The Beat Goes On", "Luck Be a Lady Tonight", "Norwegian Wood", "Day Tripper", "Sundown" (Gordon Lightfoot), "Cats in the Cradle" ...
... the eerie church "Mixolydian mode" (C-D-E-F-G-A-A#-C) for my intranet version of "The Pathology Blues", on our quizbank. You can also hear the church "Mixolydian mode" in "The Beat Goes On", "Luck Be a Lady Tonight", "Norwegian Wood", "Day Tripper", "Sundown" (Gordon Lightfoot), "Cats in the Cradle" ...
Compositional trajectories [Medieval music]
... features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully unders ...
... features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully unders ...
New Harmonic Resources
... Paul Hindemith: The Craft of Musical Composition (1937)! Series I—Hierarchical relationship of scale degrees:! ...
... Paul Hindemith: The Craft of Musical Composition (1937)! Series I—Hierarchical relationship of scale degrees:! ...
Scales, Voice
... To get perfect triads, must sacrifice: There are two different size whole tones 9/8 (1.125) and 10/9 (1.111). ...
... To get perfect triads, must sacrifice: There are two different size whole tones 9/8 (1.125) and 10/9 (1.111). ...
Diatonic Modes
... practical manner similar to the transposition method advocated below. 1. Non-transposed method. Each mode begins on a different scale degree throughout an octave of white keys on the piano. Although seemingly simple, this method does not teach transposition, relative quality, or color comparisons. I ...
... practical manner similar to the transposition method advocated below. 1. Non-transposed method. Each mode begins on a different scale degree throughout an octave of white keys on the piano. Although seemingly simple, this method does not teach transposition, relative quality, or color comparisons. I ...
Gregorian Chant
... Reflect their origins as elaborate recitatives o Many melodies have reciting tones o Responsorial Chants Office chants (Gradual, Alleluia, offertory) Consist of a refrain called a respond sung by a choir, alternating with psalm verses sung by a soloist Gregorian Modes o Categorized into eight ...
... Reflect their origins as elaborate recitatives o Many melodies have reciting tones o Responsorial Chants Office chants (Gradual, Alleluia, offertory) Consist of a refrain called a respond sung by a choir, alternating with psalm verses sung by a soloist Gregorian Modes o Categorized into eight ...
Medieval Music - Gregorian Chant
... idea of having two melodic lines sung simultaneously at parallel intervals, usually at the fourth, fifth, or octave. The resulting hollow-sounding music was called organum. By the eleventh century, two or even three melodic lines were no longer moving in parallel motion, but contrary to each other, ...
... idea of having two melodic lines sung simultaneously at parallel intervals, usually at the fourth, fifth, or octave. The resulting hollow-sounding music was called organum. By the eleventh century, two or even three melodic lines were no longer moving in parallel motion, but contrary to each other, ...
Chapter 1: The Basics Microtonal Notation
... either the tone or the octave. For example, third-tone music may be described as 18-div and fifth-tone music as 30-div, and so on. While there is no categorical reason why the word ‘division’ should be associated with a division of the octave as opposed to a division of a tone (or any other interval ...
... either the tone or the octave. For example, third-tone music may be described as 18-div and fifth-tone music as 30-div, and so on. While there is no categorical reason why the word ‘division’ should be associated with a division of the octave as opposed to a division of a tone (or any other interval ...
A Field Guide to Chromaticism
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
Modern Notation for Plainchant
... A dot immediately after a note increases its duration by half, so a dotted half note is equal to three quarter notes. Notes can also be “tied” together to make up a single longer note. And eighth notes can be “barred” together to show how they are grouped together, even if sung separately. ...
... A dot immediately after a note increases its duration by half, so a dotted half note is equal to three quarter notes. Notes can also be “tied” together to make up a single longer note. And eighth notes can be “barred” together to show how they are grouped together, even if sung separately. ...
Help with analysing in listening tests
... Is it phrased regularly or irregularly? Is it treated in sequence, repeated a lot, developed in a cellular way? Does it feature any particular intervals (eg tritone) Is it varied in pitch, instrumentation etc? How is the melody structured? Is there a countermelody? Any imitation? Harmo ...
... Is it phrased regularly or irregularly? Is it treated in sequence, repeated a lot, developed in a cellular way? Does it feature any particular intervals (eg tritone) Is it varied in pitch, instrumentation etc? How is the melody structured? Is there a countermelody? Any imitation? Harmo ...
Music Report - St Faith`s Crosby
... had to be memorised, which limits how music you can sing. With the emergence of written music, musical ideas were recorded for others to study and learn, and more importantly without the composer having to be present. Without this notation system musicians wouldn't be able to share and expand on mus ...
... had to be memorised, which limits how music you can sing. With the emergence of written music, musical ideas were recorded for others to study and learn, and more importantly without the composer having to be present. Without this notation system musicians wouldn't be able to share and expand on mus ...
Document
... Legato melodies move mostly by step Mixolydian mode Rich, open harmonies Chant portions nonmetrical; organum compound meter • Polyphonic—faster voices over slowmoving tenor line • Alleluia chant returns; otherwise free ...
... Legato melodies move mostly by step Mixolydian mode Rich, open harmonies Chant portions nonmetrical; organum compound meter • Polyphonic—faster voices over slowmoving tenor line • Alleluia chant returns; otherwise free ...
Chapter 6 Middle ages
... Legato melodies move mostly by step Mixolydian mode Rich, open harmonies Chant portions nonmetrical; organum compound meter • Polyphonic—faster voices over slowmoving tenor line • Alleluia chant returns; otherwise free ...
... Legato melodies move mostly by step Mixolydian mode Rich, open harmonies Chant portions nonmetrical; organum compound meter • Polyphonic—faster voices over slowmoving tenor line • Alleluia chant returns; otherwise free ...
Document
... notes of the chromatic scale • The distance between two adjacent notes on the keyboard ...
... notes of the chromatic scale • The distance between two adjacent notes on the keyboard ...
Comparison of musical period
... Slower at the end Rhythm pattern follows Rhythm Pattern of beginning Homophonic Texture Imitative polyphony Sometimes long phrases Melody & Phrase Ornamented Triads of the key mainly Harmony Some suspension Diatonic Tonality & Key Modulated to related key Form & Structure Binary(AB) Baroq. suites wi ...
... Slower at the end Rhythm pattern follows Rhythm Pattern of beginning Homophonic Texture Imitative polyphony Sometimes long phrases Melody & Phrase Ornamented Triads of the key mainly Harmony Some suspension Diatonic Tonality & Key Modulated to related key Form & Structure Binary(AB) Baroq. suites wi ...
View printable PDF of 6.3 Analyzing Diatonic Modes
... signature for three sharps (F#, C#, and G#), this is a diatonic mode (see 6.2 The Diatonic Modes). When analyzing diatonic modes, find the answer using a relative OR parallel approach (NOT both!): Relative approach: 3 sharps = A major. E is the fifth scale step in A major, so this is mixolydian. OR ...
... signature for three sharps (F#, C#, and G#), this is a diatonic mode (see 6.2 The Diatonic Modes). When analyzing diatonic modes, find the answer using a relative OR parallel approach (NOT both!): Relative approach: 3 sharps = A major. E is the fifth scale step in A major, so this is mixolydian. OR ...
LEONIN AND PEROTIN GO TO SCHOOL
... chapterwere single melodies. Therewas only one melody being sung to the words written. Around A.D. 1100 a very imponant development in music history took place. This development, known as polyphony, combined two or more simultaneous melodic lines. Then, instead ol just one line ol melody, the priest ...
... chapterwere single melodies. Therewas only one melody being sung to the words written. Around A.D. 1100 a very imponant development in music history took place. This development, known as polyphony, combined two or more simultaneous melodic lines. Then, instead ol just one line ol melody, the priest ...
Concepts for the Music Theory Sections of the Graduate Preliminary
... - No parallel 5ths or parallel octaves (also no "contrary" 5ths or octaves--this is when consecutive 5ths or octaves are created by contrary instead of parallel motion) - Resolve all "tendency tones" in the same voice--a leading-tone must resolves UP by half-step to the tonic; 7ths of "dominant 7th" ...
... - No parallel 5ths or parallel octaves (also no "contrary" 5ths or octaves--this is when consecutive 5ths or octaves are created by contrary instead of parallel motion) - Resolve all "tendency tones" in the same voice--a leading-tone must resolves UP by half-step to the tonic; 7ths of "dominant 7th" ...
Echos
Echos (Greek: ἦχος, [ˈixos] ""sound""; pl. Echoi ἦχοι [ˈiçi], Old Church Slavonic: гласъ [glasŭ] ""voice, sound"") is the name in Byzantine music theory for a mode within the eight mode system (oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant (""thesis of the melos""), differentiated according to the chant genre and according to the performance style (""method of the thesis""). It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam (since 1400 ""maqam""), or a Persian parde (since 18th century dastgâh).