COMPUTER-GENERATING EMOTIONAL MUSIC: THE DESIGN OF
... similarities with the emotion groupings used by Hevner. The circumplex model considers any emotion to be part of a two-dimensional space, in which the x-axis is related to the emotional valence and the y-axis is related to emotional arousal. Valence1 is a term with meaning shared across many domains ...
... similarities with the emotion groupings used by Hevner. The circumplex model considers any emotion to be part of a two-dimensional space, in which the x-axis is related to the emotional valence and the y-axis is related to emotional arousal. Valence1 is a term with meaning shared across many domains ...
Music Theory ==> Basic Level
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
Music Craft - AMEB Online Exams
... Set Works will be assigned to each grade level from Grade 1 onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. Th ...
... Set Works will be assigned to each grade level from Grade 1 onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. Th ...
21M.350 Musical Analysis
... in the violin 1 line are essentially arpeggiations of the chords being played. Of further significance is the fact that violin 1 plays a syncopated rhythm, playing exactly where the cello does not (aside from in m.28 when the two are playing simultaneously), further adding to the airy nature of the ...
... in the violin 1 line are essentially arpeggiations of the chords being played. Of further significance is the fact that violin 1 plays a syncopated rhythm, playing exactly where the cello does not (aside from in m.28 when the two are playing simultaneously), further adding to the airy nature of the ...
EKU Music Theory Study Guide with PAGE NUMBERS
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Percussion Ensembles - Bass Performance Hall
... heads, or membranes, stretched over each rim, such as the bass drum and the snare drums. Some are tuned, such as the timpani. Some are played with hands, rather than mallets, such as the bongo, Conga drum and the tambourine. Percussion instruments that produce sound by its entire body being set in m ...
... heads, or membranes, stretched over each rim, such as the bass drum and the snare drums. Some are tuned, such as the timpani. Some are played with hands, rather than mallets, such as the bongo, Conga drum and the tambourine. Percussion instruments that produce sound by its entire body being set in m ...
EKU Music Theory Study Guide - Music Theory And Composition
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Music Theory And Composition - Eastern Kentucky University
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Stephanie Reusch Paper 2 Composers use several types of non
... the left hand, again perhaps prolonging the idea of tonic during the dominant harmony. Because P is the first section of the piece, part of it’s function is to establish the key, so it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-c ...
... the left hand, again perhaps prolonging the idea of tonic during the dominant harmony. Because P is the first section of the piece, part of it’s function is to establish the key, so it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-c ...
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and
... Note that it is possible for a sequence to be a non-trivial cyclic permutation of itself. For example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C ...
... Note that it is possible for a sequence to be a non-trivial cyclic permutation of itself. For example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C ...
A technical look at swing rhythm in music
... different instruments playing swing differently from each other, locking together at certain canonical time locations representing standard counting and subdivision of the musical meter. This latter phenomenon has been previously investigated as ensemble swing. The time locking, while precise, may n ...
... different instruments playing swing differently from each other, locking together at certain canonical time locations representing standard counting and subdivision of the musical meter. This latter phenomenon has been previously investigated as ensemble swing. The time locking, while precise, may n ...
Texture_and_Melody
... All the parts are playing the same rhythm but the pitch is an octave apart. ...
... All the parts are playing the same rhythm but the pitch is an octave apart. ...
Scale Degrees - Co
... Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in his lesson on the Major Scale the chords that are derived from that scale. When Roman numerals are used to describe Scale Degress, the also describe tha ...
... Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in his lesson on the Major Scale the chords that are derived from that scale. When Roman numerals are used to describe Scale Degress, the also describe tha ...
... Seventh Chords and Musical Style The treatment ofseventh chords is an important aspect ofmusical style. For exam ple, only sevenths built on scale degrees 2, 5, and 7appear frequently in Classical period music; yet we find seventh chords on all scale degrees in Romantic (1830-1910), jazz, and popu ...
This Worldes Joie Part 1 analysis
... Indeed, in terms of harmony, the characteristic octatonic sound is formed by combining triads (or dominant 7ths) either a tritone or minor 3rd apart – as in the famous “Petrushka chord”, which combines two major triads a tritone apart (C and F#). The octatonic scale is also used in modern jazz, wher ...
... Indeed, in terms of harmony, the characteristic octatonic sound is formed by combining triads (or dominant 7ths) either a tritone or minor 3rd apart – as in the famous “Petrushka chord”, which combines two major triads a tritone apart (C and F#). The octatonic scale is also used in modern jazz, wher ...
Document
... line, so in a way harmony is the great goal or subject hovering over all that melody, asserting a more global precedence. Harmonic implication within a strong melody is something you hear in the jazz genius, Charlie Parker, or one of his descendants, Sonny Rollins. The harmonic accompaniment is alre ...
... line, so in a way harmony is the great goal or subject hovering over all that melody, asserting a more global precedence. Harmonic implication within a strong melody is something you hear in the jazz genius, Charlie Parker, or one of his descendants, Sonny Rollins. The harmonic accompaniment is alre ...
The Compositional Signature of Anton Bruckner I.
... 1. Continued study with the Kitzler Studienbuch i. Evidence of voice-leading errors ii. Focus on form rather than contrapuntal accuracy iii. Major influence on Bruckner’s adoration of Wagner D. Compositional Style 1. Known for combining the neo-Baroque structure with the freedom of chromatic harmoni ...
... 1. Continued study with the Kitzler Studienbuch i. Evidence of voice-leading errors ii. Focus on form rather than contrapuntal accuracy iii. Major influence on Bruckner’s adoration of Wagner D. Compositional Style 1. Known for combining the neo-Baroque structure with the freedom of chromatic harmoni ...
Tunings and Temperaments Powerpoint
... • Historically, different tunings and temperaments have been used to improve the intonation of an instrument – Instruments sound "best" in only one "key" – This is a problem if you want to transpose, or use inharmonic intervals ...
... • Historically, different tunings and temperaments have been used to improve the intonation of an instrument – Instruments sound "best" in only one "key" – This is a problem if you want to transpose, or use inharmonic intervals ...
July 5 - UCSB Music Department
... the fifth without much frustration in the listener (compare this to landing on the seventh note, which has a strong tendency to drive toward its neighbor, the tonic). [These relationships and dynamic personalities are difficult to hear at first, but much of it is intuitive, and as we further our exp ...
... the fifth without much frustration in the listener (compare this to landing on the seventh note, which has a strong tendency to drive toward its neighbor, the tonic). [These relationships and dynamic personalities are difficult to hear at first, but much of it is intuitive, and as we further our exp ...
Robert O. Gjerdingen, Music in the Galant Style Journal of the
... on the World Wide Web.’ It quickly becomes clear that Robert O. Gjerdingen’s fun is not frippery. The depth of his engagement makes it seem entirely natural that he should affectionately emulate his beloved. If there is one other labour of love to which his work relates closely, it is Daniel Heartz’ ...
... on the World Wide Web.’ It quickly becomes clear that Robert O. Gjerdingen’s fun is not frippery. The depth of his engagement makes it seem entirely natural that he should affectionately emulate his beloved. If there is one other labour of love to which his work relates closely, it is Daniel Heartz’ ...
Bo Stief ”Nordic Root” – Tore Brunborg, Krister Jonsson
... written music for theatre plays, special projects and for his own band. Tore Brunborg has played with Masqualero (Arild Andersen, Jon Christensen, Jon Balke, Nils Petter Molvær). Bo Stief, Billy Cobham, Anders Jormin, Jon Eberson, Rita Marcotulli and many others. ...
... written music for theatre plays, special projects and for his own band. Tore Brunborg has played with Masqualero (Arild Andersen, Jon Christensen, Jon Balke, Nils Petter Molvær). Bo Stief, Billy Cobham, Anders Jormin, Jon Eberson, Rita Marcotulli and many others. ...
Principles of Counterpoint
... systematically explores all possible ways of filling in the space between two chord tones with a given number of notes. (The technique of differencias was part of the training both of composers and performers; the latter frequently needed to be able to improvise ornamentation.) Schoenberg’s "Prelimi ...
... systematically explores all possible ways of filling in the space between two chord tones with a given number of notes. (The technique of differencias was part of the training both of composers and performers; the latter frequently needed to be able to improvise ornamentation.) Schoenberg’s "Prelimi ...
MTO 18.2: Sly, Review of Damschroder
... but II ; that is, the Roman numeral invariably corresponds to the scale degree of the chord’s root in the governing key. And modifications to chord members are shown with numbers and accidentals counting above the root, not above the bass tone; so, A-C -E-G in G major, with, say, G in the bass, is s ...
... but II ; that is, the Roman numeral invariably corresponds to the scale degree of the chord’s root in the governing key. And modifications to chord members are shown with numbers and accidentals counting above the root, not above the bass tone; so, A-C -E-G in G major, with, say, G in the bass, is s ...
22. Mozart - Piano Sonata in B flat, K.333
... cadence in F at 70-71. Instead there is a dramatic shift to F minor in bar 71. This is not exactly a remote key, but it’s not one of the five closely related ones. The music reaches C minor at bar 75 and G minor at bar 80. From bar 87 there is a 7 bar passage of dominant preparation ...
... cadence in F at 70-71. Instead there is a dramatic shift to F minor in bar 71. This is not exactly a remote key, but it’s not one of the five closely related ones. The music reaches C minor at bar 75 and G minor at bar 80. From bar 87 there is a 7 bar passage of dominant preparation ...
Figured bass
Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols indicate intervals, chords, and non-chord tones, in relation to the bass note they are placed above or below. Figured bass is closely associated with basso continuo, a historically improvised accompaniment used in almost all genres of music in the Baroque period, though rarely in modern music.Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis;macro symbols, sometimes used in modern musicology; the Nashville number system; and various names and symbols used in jazz and popular music.