Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... Judging by his explicit remarks, Fux also seems to permit “registral parallels” such as (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one ...
... Judging by his explicit remarks, Fux also seems to permit “registral parallels” such as (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one ...
Russian Pitch-Class Set Analysis and the Music of Webern
... notes containing semitones and instances of linear motion by semitone.3 To one extent or another, they categorized these set classes and, by segmenting sets belonging to them, analyzed several works by Webern. Of course, at the same time, many developments were underway in the United States with res ...
... notes containing semitones and instances of linear motion by semitone.3 To one extent or another, they categorized these set classes and, by segmenting sets belonging to them, analyzed several works by Webern. Of course, at the same time, many developments were underway in the United States with res ...
The apparition from the forest
... For analytic purposes intervals greater than octave (compound intervals) are subtracted (e.g. an interval b2 flat/c1 is called “seventh”), unless they belong to ninth, eleventh or thirteenth chords, or are connected to them. Thus there is the possibility that an interval such as d2/c1 (c1–d2) may be ...
... For analytic purposes intervals greater than octave (compound intervals) are subtracted (e.g. an interval b2 flat/c1 is called “seventh”), unless they belong to ninth, eleventh or thirteenth chords, or are connected to them. Thus there is the possibility that an interval such as d2/c1 (c1–d2) may be ...
AN AURAL SKILLS HANDBOOK FOR MODAL MUSIC A thesis
... I hope this book will offer a practical approach to understanding modal music: both how it sounds and how it functions. With that in mind, I have used modern notation rather than neumatic notation. Learning a whole new system of notation would be extremely confusing to students, and it would run com ...
... I hope this book will offer a practical approach to understanding modal music: both how it sounds and how it functions. With that in mind, I have used modern notation rather than neumatic notation. Learning a whole new system of notation would be extremely confusing to students, and it would run com ...
an analytical conductor`s guide to the satb a cappella works of arvo
... discovered a fascination with sacred Medieval and Renaissance music, which had been denied him as a student in the USSR. These events, added to the lingering influence of his composition teacher, Heino Eller, became the primary influences in Part's new style of composition, which he named tintinnabu ...
... discovered a fascination with sacred Medieval and Renaissance music, which had been denied him as a student in the USSR. These events, added to the lingering influence of his composition teacher, Heino Eller, became the primary influences in Part's new style of composition, which he named tintinnabu ...
Linear Chromatic Flyer - James Jones Instruments
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
Lesson_UUU_-_The_Maj..
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
1.3. MUSICAL TERMS
... All the systems of world music admits of 12 svara sthanas. In addition to these 12, ten micro tones or srutis are used in classical music which gives a peculiar charm and colour to our music. All together there are 22 srutis in Indian music which have been in use for centuries. Various srutis can be ...
... All the systems of world music admits of 12 svara sthanas. In addition to these 12, ten micro tones or srutis are used in classical music which gives a peculiar charm and colour to our music. All together there are 22 srutis in Indian music which have been in use for centuries. Various srutis can be ...
Lesson UUU: The Major Scale Introduction: The
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
Dynamic Tonality - William A. Sethares
... framework of tonality to include new structural resources such as polyphonic tuning bends, tuning progressions, and temperament modulations. These new resources could prepare art music for the 21st Century. ...
... framework of tonality to include new structural resources such as polyphonic tuning bends, tuning progressions, and temperament modulations. These new resources could prepare art music for the 21st Century. ...
“If I should die, think only this of me” Songs from the World at War
... Britten and Pears had become lovers.12 The Michelangelo songs were composed as a gift for Peter Pears, not just songs for him to perform.13 Throughout their long careers, Britten and Pears would establish a famously prolific symbiotic composer/performer relationship in addition to their lifelong ro ...
... Britten and Pears had become lovers.12 The Michelangelo songs were composed as a gift for Peter Pears, not just songs for him to perform.13 Throughout their long careers, Britten and Pears would establish a famously prolific symbiotic composer/performer relationship in addition to their lifelong ro ...
If you can sing “Joy to the World” you can learn to
... Gregorian Chant music is the foundation of modern music notation. To learn to read and sing Gregorian Chant we are going to deconstruct modern music and strip it down to its bare bones, abandoning many of the things you worked hard to learn to understand and use. This may frustrate you at first - fo ...
... Gregorian Chant music is the foundation of modern music notation. To learn to read and sing Gregorian Chant we are going to deconstruct modern music and strip it down to its bare bones, abandoning many of the things you worked hard to learn to understand and use. This may frustrate you at first - fo ...
A Musical Analysis-of-the- Transformations-of-the-Baker-and
... dexterity and manipulation to transform the defective into the perfect, Sondheim proceeds in the second act to sharply contrast a utopia with a dystopia. The Baker and his wife are two unique characters of the play in this sense: the second act is not a continuation of the first, but rather a separa ...
... dexterity and manipulation to transform the defective into the perfect, Sondheim proceeds in the second act to sharply contrast a utopia with a dystopia. The Baker and his wife are two unique characters of the play in this sense: the second act is not a continuation of the first, but rather a separa ...
PDF
... almost exactly between a perfect fourth and a tritone—so if anything, it is heard as a very flat tritone, though I think most would agree that it has its own unique harmonic quality. Partch refers to his pitches as either “otonal” or “utonal,” meaning they are derived either directly from the overto ...
... almost exactly between a perfect fourth and a tritone—so if anything, it is heard as a very flat tritone, though I think most would agree that it has its own unique harmonic quality. Partch refers to his pitches as either “otonal” or “utonal,” meaning they are derived either directly from the overto ...
Post-Acousmatic Practice: Re-evaluating Schaeffer`s heritage. Monty
... represented by a composer, or a genre, or they may take a non-musical form: a place, a type of architecture, a moment in history, a person, a voice. The more landmarks we use, the easier it is to move forward “in a backwards way (Savouret, 1998: 229). In their creative practice, each of the authors ...
... represented by a composer, or a genre, or they may take a non-musical form: a place, a type of architecture, a moment in history, a person, a voice. The more landmarks we use, the easier it is to move forward “in a backwards way (Savouret, 1998: 229). In their creative practice, each of the authors ...
Connections: Original Compositions with Detailed
... The intrinsic value of the linear approach lies in its ability to provide contrast to more monumental homophonic sections which are often built on clusters or chords and where the sense of movement is based on a vertical relationship. A linear approach or free counterpoint is conceived as horizontal ...
... The intrinsic value of the linear approach lies in its ability to provide contrast to more monumental homophonic sections which are often built on clusters or chords and where the sense of movement is based on a vertical relationship. A linear approach or free counterpoint is conceived as horizontal ...
Death`s Voice in Zemlinsky`s Lieder: A Comparison of “Ich geh` des
... rhythm in beat three, as well as what might be referred to as small-scale or low-level metrical dissonance: the triplet pattern consists of pairs of falling pitches rather than groups of three, making the continuous motion sound slightly off-kilter. In addition, the left hand rhythm lingers on beat ...
... rhythm in beat three, as well as what might be referred to as small-scale or low-level metrical dissonance: the triplet pattern consists of pairs of falling pitches rather than groups of three, making the continuous motion sound slightly off-kilter. In addition, the left hand rhythm lingers on beat ...
PDF text - Music Theory Online
... have, Vicentino writes: “Because of the great diversity between the hearing of one person and that of another, composers must create as much diversity in their compositions as there are listeners’ opinions if they want to satisfy all judgments based on the sense of hearing” (21–22). On the importanc ...
... have, Vicentino writes: “Because of the great diversity between the hearing of one person and that of another, composers must create as much diversity in their compositions as there are listeners’ opinions if they want to satisfy all judgments based on the sense of hearing” (21–22). On the importanc ...
Using bagpipe.tex
... (c, s, or t) , p indicating that the previous note is dotted, or g for a grace note. For each d (except p) the macro requires an appropriate argument. Note lengths require a pitch value x and a g requires any grace note macro, e.g. \grx. An example of use is \pcps ab which would set a dotted eighth ...
... (c, s, or t) , p indicating that the previous note is dotted, or g for a grace note. For each d (except p) the macro requires an appropriate argument. Note lengths require a pitch value x and a g requires any grace note macro, e.g. \grx. An example of use is \pcps ab which would set a dotted eighth ...
Problemset Title Chapter Quiz Introductory Text Question 1 Type
... Music is a culture-specific system of communication. ...
... Music is a culture-specific system of communication. ...
Ancient Greek Music: A Technical History by Stefan Hagel
... are fine and numerous, they are not indeterminate in number. It might be thought that the simplest melody, at least for the sake of argument, consists of two notes of different pitch. Since pitch is a quality of sound, whether musical or not, that is registered by the ear along a continuum of higher a ...
... are fine and numerous, they are not indeterminate in number. It might be thought that the simplest melody, at least for the sake of argument, consists of two notes of different pitch. Since pitch is a quality of sound, whether musical or not, that is registered by the ear along a continuum of higher a ...
Harmony
In music, harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the ""vertical"" aspect of music, as distinguished from melodic line, or the ""horizontal"" aspect. Counterpoint, which refers to the interweaving of melodic lines, and polyphony, which refers to the relationship of separate independent voices, are thus sometimes distinguished from harmony.In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with ""tensions"". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Typically, in the classical common practice period a dissonant chord (chord with tension) ""resolves"" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between ""tense"" and ""relaxed"" moments.