At The Cutting Edge: Three American Theorists at The End of The
... Their authors observed and experienced music differently from their predecessors. No longer concerned with arguments about the relative merits of German harmonic theory and Viennese step theory.17 the documents of Ziehn, Klauser, and Ives, jointly, open the following topics to criticism: staff notat ...
... Their authors observed and experienced music differently from their predecessors. No longer concerned with arguments about the relative merits of German harmonic theory and Viennese step theory.17 the documents of Ziehn, Klauser, and Ives, jointly, open the following topics to criticism: staff notat ...
A permutational triadic approach to jazz harmony and the chord
... God has wrought many things out of oppression. He has endowed his creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story o ...
... God has wrought many things out of oppression. He has endowed his creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story o ...
A propos du « mouvement musical » chez Debussy :
... neutral manner, interval class 6. This interval already played a special role in the tonal idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only interval of all the intervals contained in the natural heptatonic scale to occur once. The ...
... neutral manner, interval class 6. This interval already played a special role in the tonal idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only interval of all the intervals contained in the natural heptatonic scale to occur once. The ...
PDF text - Music Theory Online
... temperament is called ¼-comma meantone—or often simply meantone—due to the size of its whole tone, which is the mean of the 9:8 and 10:9 whole tones first described in Ptolemy’s syntonic diatonic and proposed in several earlier sixteenthcentury treatises. (4) [5] If this temperament is extended to a ...
... temperament is called ¼-comma meantone—or often simply meantone—due to the size of its whole tone, which is the mean of the 9:8 and 10:9 whole tones first described in Ptolemy’s syntonic diatonic and proposed in several earlier sixteenthcentury treatises. (4) [5] If this temperament is extended to a ...
Modes and Ragas: More Than just a Scale
... Sacred music in the middle ages in Western Europe - Gregorian chant, for example - was also modal, and the medieval church modes were also considered to have dierent eects on the listener. (As of this writing the site Ricercares by Vincenzo Galilei38 had a list of the "ethos" or mood associated wi ...
... Sacred music in the middle ages in Western Europe - Gregorian chant, for example - was also modal, and the medieval church modes were also considered to have dierent eects on the listener. (As of this writing the site Ricercares by Vincenzo Galilei38 had a list of the "ethos" or mood associated wi ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... issues here. First, can Fux’s rules be usefully modeled by an approach that abstracts away from specific pitches in favor of pitch-class intervals? Second, if we accept this abstraction, is Mazzola justified in focusing on parallel fifths to the exclusion of octaves? And third, are Mazzola’s claims ...
... issues here. First, can Fux’s rules be usefully modeled by an approach that abstracts away from specific pitches in favor of pitch-class intervals? Second, if we accept this abstraction, is Mazzola justified in focusing on parallel fifths to the exclusion of octaves? And third, are Mazzola’s claims ...
Harmonic innovations in the piano works of Debussy and Ravel
... with the music which went before. Speaking of Debussy, Oscar Thompson says, "As an innovator he has been overtaken and left behind by neoterics b ent on invalidating the old tonal sys~e m entirely. 11 Oscar Thompson: D_ebus s y , Man and Artist (1937), p .1 ~. ...
... with the music which went before. Speaking of Debussy, Oscar Thompson says, "As an innovator he has been overtaken and left behind by neoterics b ent on invalidating the old tonal sys~e m entirely. 11 Oscar Thompson: D_ebus s y , Man and Artist (1937), p .1 ~. ...
Jazz Scale Theory - mo` better blues
... analysis calls the major scale a scale, while all sequence of pitches that can be derived from the scale, including the minor mode, are not called scales but modes. All others pitch sequences such as whole tone, diminished and blues scales are called scales. I have applied this naming convention thr ...
... analysis calls the major scale a scale, while all sequence of pitches that can be derived from the scale, including the minor mode, are not called scales but modes. All others pitch sequences such as whole tone, diminished and blues scales are called scales. I have applied this naming convention thr ...
scale networks and debussy
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
Twelve-note composition - Paul Ayick Vintage Brass
... The melodic figure which begins the second piece of the same opus serves as nothing less than an ordered set, though it is only one of the sources of pitchclass relations. Both pieces were completed in July 1920. A month later Schoenberg was at work on op.24 no.3, the Variation movement of the Sere ...
... The melodic figure which begins the second piece of the same opus serves as nothing less than an ordered set, though it is only one of the sources of pitchclass relations. Both pieces were completed in July 1920. A month later Schoenberg was at work on op.24 no.3, the Variation movement of the Sere ...
On the Origins of Schoenberg`s Sprechgesang in Pierrot Lunaire
... repetition means tension release and termination. Thus the words are expressed: Zerfloss. Zerfloss? in LSt first-sight reading, Zerfloss! Zerfloss! in his second reading, and Zerfloss! Zerfloss. in Schoenberg’s score. Schoenberg perceived the musicality of the German language and German speech inton ...
... repetition means tension release and termination. Thus the words are expressed: Zerfloss. Zerfloss? in LSt first-sight reading, Zerfloss! Zerfloss! in his second reading, and Zerfloss! Zerfloss. in Schoenberg’s score. Schoenberg perceived the musicality of the German language and German speech inton ...
Perspectives on Music during the Counter-Reformation
... 500 years later, his musical notation was still the standard in music notation. By its inclusion in both texts, it is fairly clear that the Guidonian Scale at this period of time was standard musical practice, and not something specific to sacred or secular music. Figure 1 below shows the diatonic s ...
... 500 years later, his musical notation was still the standard in music notation. By its inclusion in both texts, it is fairly clear that the Guidonian Scale at this period of time was standard musical practice, and not something specific to sacred or secular music. Figure 1 below shows the diatonic s ...
Full PDF - 2012 Book Archive
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
Neo-Riemannian Theory and the Analysis of Pop
... music. Second, the enharmonic relationships and equal subdivisions of the octave often created by these cycles are also rare.22 Third, the parsimonious voice leading associated with NROs does not always obtain in pitch space since parallel fifths and octaves are common in pop-rock music. For example ...
... music. Second, the enharmonic relationships and equal subdivisions of the octave often created by these cycles are also rare.22 Third, the parsimonious voice leading associated with NROs does not always obtain in pitch space since parallel fifths and octaves are common in pop-rock music. For example ...
The Motive - AState.edu
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
AP Music Theory Syllabus
... Intervals of half steps and whole steps; Chromatic alteration; Equivalents; Accidentals the chromatic scale; Enharmonic intervals Beginning Sight-Singing/ Melodic Dictation – Major key, diatonic pitches, conjunct melodies using sol-feg ...
... Intervals of half steps and whole steps; Chromatic alteration; Equivalents; Accidentals the chromatic scale; Enharmonic intervals Beginning Sight-Singing/ Melodic Dictation – Major key, diatonic pitches, conjunct melodies using sol-feg ...
Subject and counter-subject detection for analysis of the Well
... melodic material: a subject and, in most cases, a counter-subject. These patterns, played completely during the exposition, are then repeated all along the piece, either in their initial form or more often altered or transposed, building a complex harmonic network. To analyze symbolic scores with co ...
... melodic material: a subject and, in most cases, a counter-subject. These patterns, played completely during the exposition, are then repeated all along the piece, either in their initial form or more often altered or transposed, building a complex harmonic network. To analyze symbolic scores with co ...
How Music Works
... Early Western music used a tuning system called Pythagorean intonation, in which only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefo ...
... Early Western music used a tuning system called Pythagorean intonation, in which only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefo ...
Dictionary of Musical Terms
... primary chords...... I, IV, and V chords, the most common in music............................................... ________ ________ (Eng.) PRY-mayr-ree kohrds ...
... primary chords...... I, IV, and V chords, the most common in music............................................... ________ ________ (Eng.) PRY-mayr-ree kohrds ...
Triads, 7th chords, the roman numeral harmony system, inversions
... In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of triads can all be related to a single scale. Since a scale can be heard to represent a type of melodic continu ...
... In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of triads can all be related to a single scale. Since a scale can be heard to represent a type of melodic continu ...
Subject and counter-subject detection for analysis of
... melodic material: a subject and, in most cases, a counter-subject. These patterns, played completely during the exposition, are then repeated all along the piece, either in their initial form or more often altered or transposed, building a complex harmonic network. To analyze symbolic scores with co ...
... melodic material: a subject and, in most cases, a counter-subject. These patterns, played completely during the exposition, are then repeated all along the piece, either in their initial form or more often altered or transposed, building a complex harmonic network. To analyze symbolic scores with co ...
Just intonation
In music, just intonation (sometimes abbreviated as JI) or pure intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a pure or just interval. The two notes in any just interval are members of the same harmonic series. Frequency ratios involving large integers such as 1024:927 are not generally said to be justly tuned. ""Just intonation is the tuning system of the later ancient Greek modes as codified by Ptolemy; it was the aesthetic ideal of the Renaissance theorists; and it is the tuning practice of a great many musical cultures worldwide, both ancient and modern.""Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch (e.g., piano or organ) and default MIDI tuning on electronic keyboards. In equal temperament, all intervals are defined as multiples of the same basic interval, or more precisely, the intervals are ratios which are integer powers of the smallest step ratio, so two notes separated by the same number of steps always have exactly the same frequency ratio. However, except for doubling of frequencies (one or more octaves), no other intervals are exact ratios of small integers. Each just interval differs a different amount from its analogous, equally tempered interval.Justly tuned intervals can be written as either ratios, with a colon (for example, 3:2), or as fractions, with a solidus (3 ⁄ 2). For example, two tones, one at 300 Hertz (cycles per second), and the other at 200 hertz are both multiples of 100 Hz and as such members of the harmonic series built on 100 Hz. Thus 3/2, known as a perfect fifth, may be defined as the musical interval (the ratio) between the second and third harmonics of any fundamental pitch.