The application of the Kodaly method to instrumental music education
... The simple forms, basic pentatonic scales and comprehensible language of folk songs were well suited for children; and (3) Folk music is not contrived for pedagogical purposes, but is a living art in itself.3 Kodaly came very close to reaching his goal of providinr the entire population of Hungary w ...
... The simple forms, basic pentatonic scales and comprehensible language of folk songs were well suited for children; and (3) Folk music is not contrived for pedagogical purposes, but is a living art in itself.3 Kodaly came very close to reaching his goal of providinr the entire population of Hungary w ...
Alois Hába`s Suite für vier Posaunen
... shows the first four measures, reduced to a single bass staff. Example 3.11b shows how the Au–major triad is prolonged by non-chord tones, although their enharmonic spellings do not always reflect their functions. The nonchord tones By and Dy are easily interpreted as passing-tones, but the uppernei ...
... shows the first four measures, reduced to a single bass staff. Example 3.11b shows how the Au–major triad is prolonged by non-chord tones, although their enharmonic spellings do not always reflect their functions. The nonchord tones By and Dy are easily interpreted as passing-tones, but the uppernei ...
The Composition of New Music Inspired by Music Philosophy and
... studied ancient papyrus manuscripts and stone carvings of ancient Greek notation and looked at other musicologists’ work and made my own transcriptions of ancient Greek music. This is a form of art, but not composition in the sense that I wanted to compose my own music. Thus began the first work in ...
... studied ancient papyrus manuscripts and stone carvings of ancient Greek notation and looked at other musicologists’ work and made my own transcriptions of ancient Greek music. This is a form of art, but not composition in the sense that I wanted to compose my own music. Thus began the first work in ...
A Rule-based System for Tuning Chord Progressions
... http://www.terraworld.net/c-jasmussen/tunex/chrd_prog.htm ...
... http://www.terraworld.net/c-jasmussen/tunex/chrd_prog.htm ...
Music Craft - AMEB Online Exams
... To recognise and write (by number only) all diatonic intervals within the range of an octave, with or without key signatures on both the treble and bass staves. Triads To recognise and write, on both the treble and bass staves with or without key signatures the following triads for the major and min ...
... To recognise and write (by number only) all diatonic intervals within the range of an octave, with or without key signatures on both the treble and bass staves. Triads To recognise and write, on both the treble and bass staves with or without key signatures the following triads for the major and min ...
Tonal desires
... minor scales, but introduce new exotic intervallic possibilities to the composer’s palette. Of course, they also hint at non-Western scalar practices, which were famously rising in consciousness during Debussy’s era. It comes as no surprise, therefore, that Body largely adheres to these constraints ...
... minor scales, but introduce new exotic intervallic possibilities to the composer’s palette. Of course, they also hint at non-Western scalar practices, which were famously rising in consciousness during Debussy’s era. It comes as no surprise, therefore, that Body largely adheres to these constraints ...
(1) Sound and Music
... limitations when trying to transpose music from one key to another (more on what this means later). ...
... limitations when trying to transpose music from one key to another (more on what this means later). ...
Document
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
A Geometric Property of the Octatonic Scale 1 Praeludium
... Turning now to dyadic partitioning of the dodecachord, Figure 20 highlights the fact that the inclusion of any particular major third (shown solid) excludes the other two major thirds (shown dashed) emanating from its extremities. These two major thirds meet at a common pitch-class which is thereby ...
... Turning now to dyadic partitioning of the dodecachord, Figure 20 highlights the fact that the inclusion of any particular major third (shown solid) excludes the other two major thirds (shown dashed) emanating from its extremities. These two major thirds meet at a common pitch-class which is thereby ...
The early development of music. Analysis of the Jiahu bone flutes
... perfect fourth (P4) (Table 1). This sequence reveals that the flute could play a scale of only four discrete pitches: 1, 3, 5, and 6. ...
... perfect fourth (P4) (Table 1). This sequence reveals that the flute could play a scale of only four discrete pitches: 1, 3, 5, and 6. ...
Music Theory - Fairbanks North Star Borough School District
... Suggested Pacing: second six weeks ...
... Suggested Pacing: second six weeks ...
Xenakis SymposiumConference
... techniques. A sieve is essentially a generalisation of a musical scale, defined algebraically by superimposing a group of logical filters onto a proto-set of simply ordered objects. The resulting set of sieved objects, typically note pitches, possess a mathematical relationship but do not contain wi ...
... techniques. A sieve is essentially a generalisation of a musical scale, defined algebraically by superimposing a group of logical filters onto a proto-set of simply ordered objects. The resulting set of sieved objects, typically note pitches, possess a mathematical relationship but do not contain wi ...
a comparison of the musical and scientific
... techniques. A sieve is essentially a generalisation of a musical scale, defined algebraically by superimposing a group of logical filters onto a proto-set of simply ordered objects. The resulting set of sieved objects, typically note pitches, possess a mathematical relationship but do not contain wi ...
... techniques. A sieve is essentially a generalisation of a musical scale, defined algebraically by superimposing a group of logical filters onto a proto-set of simply ordered objects. The resulting set of sieved objects, typically note pitches, possess a mathematical relationship but do not contain wi ...
Cyclical Structures and the Organisation of Time Bryn Harrison
... selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five year period. Additionally, I will discuss my use of musical notation and, in particular, try to illustrate how this has been used not only as a means of sonic ...
... selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five year period. Additionally, I will discuss my use of musical notation and, in particular, try to illustrate how this has been used not only as a means of sonic ...
On Tonal Dynamics and Musical Meaning - Signata
... give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones, counting the basic tone. Some sort of second, third, fourth, ith, sixth, and seven ...
... give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nevertheless, most tonal scales across cultures contain only ive, six or seven tones, counting the basic tone. Some sort of second, third, fourth, ith, sixth, and seven ...
Pitch-Class Set Theory 1
... It is relatively easy to see that transposition corresponds to rotation along the circle. Viewed this way, a chord type is a bracket on the circle. We make a bracket that touches C C# and D#, and then we rotate that bracket so that it starts with F#, and we get F# G A. This is shown in Example 4. Th ...
... It is relatively easy to see that transposition corresponds to rotation along the circle. Viewed this way, a chord type is a bracket on the circle. We make a bracket that touches C C# and D#, and then we rotate that bracket so that it starts with F#, and we get F# G A. This is shown in Example 4. Th ...
Musica Ficta and
... Several theorists added that these rules should be effected where possible without resort to musica ficta – if the interval or progression can be corrected within the system of musica recta, this should be done. (Whereas Jehan de Murs’ examples invariably sharpen a leading note in the upper part, us ...
... Several theorists added that these rules should be effected where possible without resort to musica ficta – if the interval or progression can be corrected within the system of musica recta, this should be done. (Whereas Jehan de Murs’ examples invariably sharpen a leading note in the upper part, us ...
Signal Processing for Melody Transcription
... A musical scale is a logarithmic organisation of pitch based on the octave, which is the perceived distance between two pitches when one is twice the frequency of the other. For example, middle C (C4) has frequency 261.6 Hz; the octave above (C5) is 523.2 Hz and above that is soprano high C (C6) at ...
... A musical scale is a logarithmic organisation of pitch based on the octave, which is the perceived distance between two pitches when one is twice the frequency of the other. For example, middle C (C4) has frequency 261.6 Hz; the octave above (C5) is 523.2 Hz and above that is soprano high C (C6) at ...
Composing In the Flesh: Perceptually
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
The Framework of Music Theory as Represented with Groups
... Music theory is a tool and framework with which we explain our listening experience. However, both the tool and the term “listening experience” are loosely defined. They are dependent on the music. During the mid-15th century, composers began constructing their pieces around a particular pitch, call ...
... Music theory is a tool and framework with which we explain our listening experience. However, both the tool and the term “listening experience” are loosely defined. They are dependent on the music. During the mid-15th century, composers began constructing their pieces around a particular pitch, call ...
A Primer for Atonal Set Theory
... complete, annotated bibliographyof post-tonal theory,compiled by Martha Hyde and Andrew Mead, may be found in Music TheorySpectrum11/1 (1989): 44-48. The field as a whole originates with Milton Babbitt's influentialarticles and teaching, particularly"Some Aspects of TwelveTone Composition," The Scor ...
... complete, annotated bibliographyof post-tonal theory,compiled by Martha Hyde and Andrew Mead, may be found in Music TheorySpectrum11/1 (1989): 44-48. The field as a whole originates with Milton Babbitt's influentialarticles and teaching, particularly"Some Aspects of TwelveTone Composition," The Scor ...
Level 4 Workbook
... Answer the questions about the musical example, Gigue, by Telemann. 1. Name the root of the boxed broken triad in measure 1. _____ 2. Name the root of the boxed broken triad in measure 3. _____ 3. Name the interval between the circled notes in measure 4. Give both the number and the quality (Major,m ...
... Answer the questions about the musical example, Gigue, by Telemann. 1. Name the root of the boxed broken triad in measure 1. _____ 2. Name the root of the boxed broken triad in measure 3. _____ 3. Name the interval between the circled notes in measure 4. Give both the number and the quality (Major,m ...
Lesson_UUU_-_The_Maj..
... [Answer: C. Response if correct: “Correct! This scale is spelled incorrectly. Although this scale is spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the ke ...
... [Answer: C. Response if correct: “Correct! This scale is spelled incorrectly. Although this scale is spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the ke ...
Keyboard In Western Style
... to have courses that you can purchase that will teach you how to "play piano by ear" or "learn the chord method", this book contains the same information as those courses and what's best is explained in a simple manner. Lots of people really would like to play the keyboard or piano, the most popular ...
... to have courses that you can purchase that will teach you how to "play piano by ear" or "learn the chord method", this book contains the same information as those courses and what's best is explained in a simple manner. Lots of people really would like to play the keyboard or piano, the most popular ...
to read it in Microsoft Word
... Because both the soloing and the comping are based on the exact same scale or arpeggio, as outlined above, there tends to be a certain unity. The clusters used in comping come from whatever sounds good based on trial and error. Some intervals are more dissonant than others. I try to generally stay a ...
... Because both the soloing and the comping are based on the exact same scale or arpeggio, as outlined above, there tends to be a certain unity. The clusters used in comping come from whatever sounds good based on trial and error. Some intervals are more dissonant than others. I try to generally stay a ...
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.