Slide 1
... signature, duration of notes) could be stored as a double, but more exactness can be had by storing them in a Rational class that was written for this project, involving adding and multiplying with stored numerators and denominators. I went about generating sound by a method known as additive synthe ...
... signature, duration of notes) could be stored as a double, but more exactness can be had by storing them in a Rational class that was written for this project, involving adding and multiplying with stored numerators and denominators. I went about generating sound by a method known as additive synthe ...
Johannes Tinctoris, The Art of Counterpoint
... music we know and study res facta (a “made thing”) and the other (which we can’t study because it was never written down) mental counterpoint. Book II, Chapter 20: How Both Simple and Diminished Counterpoint Can Come in Two Types, Namely Written and Improvised; How Composed Counterpoint Differs from ...
... music we know and study res facta (a “made thing”) and the other (which we can’t study because it was never written down) mental counterpoint. Book II, Chapter 20: How Both Simple and Diminished Counterpoint Can Come in Two Types, Namely Written and Improvised; How Composed Counterpoint Differs from ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
AP Music Theory Syllabus
... 4. Notate, hear, and identify the following scales: chromatic, major, and the three forms of the minor. 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Nota ...
... 4. Notate, hear, and identify the following scales: chromatic, major, and the three forms of the minor. 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Nota ...
Intro - University of Kentucky
... Use the sine/cosine function in Matlab along with vector and matrix manipulation to write a function that generates a major scale (do not start with tones above 440 Hz and use a sampling rate of 8 kHz). Let the Matlab function input arguments be the starting frequency and the time interval in seco ...
... Use the sine/cosine function in Matlab along with vector and matrix manipulation to write a function that generates a major scale (do not start with tones above 440 Hz and use a sampling rate of 8 kHz). Let the Matlab function input arguments be the starting frequency and the time interval in seco ...
Musical Terms and Definitions
... with expression (sometimes notated “espr.”) the opening section of a composition or movement. Introduces themes which will be expanded upon in the following sections with fire the end in fugal style a musical form which evolved from a canon (or "round"); involves two or more musical subjects which e ...
... with expression (sometimes notated “espr.”) the opening section of a composition or movement. Introduces themes which will be expanded upon in the following sections with fire the end in fugal style a musical form which evolved from a canon (or "round"); involves two or more musical subjects which e ...
Opera and Classical Singing
... The Cadence or Cadenza is an elaborate melodic embellishment, either written by the composer or created by the singer. It occurs at the end of a section or at the conclusion of an aria to add emotional excitement and to show off the singer's vocal ability and artistry. This embellishment is usually ...
... The Cadence or Cadenza is an elaborate melodic embellishment, either written by the composer or created by the singer. It occurs at the end of a section or at the conclusion of an aria to add emotional excitement and to show off the singer's vocal ability and artistry. This embellishment is usually ...
Listening Guide and Listening Challenge material: Medieval - Renaissance
... Duplication of a phrase at two or more different pitch levels. Motive A distinctive fragment of a melody used as a building block to create a theme Harmony [17-19]The accompanying chords or support of a melody Triad A type of chord that consists of three pitches built on alternate tones of the scale ...
... Duplication of a phrase at two or more different pitch levels. Motive A distinctive fragment of a melody used as a building block to create a theme Harmony [17-19]The accompanying chords or support of a melody Triad A type of chord that consists of three pitches built on alternate tones of the scale ...
Tonal Function and Metrical Accent: A Historical Perspective
... repose, is strongestbecause in descendinga fifth(fromthe dominantto the tonic) the fundamentalbass "returnsto its source." In the "irregularcadences," the repose is less complete because the tonic is now preceded by the subdominant,whose fundamental bass lies a fifth below. To exemplify these two ki ...
... repose, is strongestbecause in descendinga fifth(fromthe dominantto the tonic) the fundamentalbass "returnsto its source." In the "irregularcadences," the repose is less complete because the tonic is now preceded by the subdominant,whose fundamental bass lies a fifth below. To exemplify these two ki ...
Blues theory - Virtual Music School
... Actually, there is no such a thing as 'blues theory', at least not like the theory about western tonal music. In jazz theory books, the chapters about blues are often quite small, because blues is in part a feeling, a mood. Improvisers often stress the need for practicing the blues. It is not so har ...
... Actually, there is no such a thing as 'blues theory', at least not like the theory about western tonal music. In jazz theory books, the chapters about blues are often quite small, because blues is in part a feeling, a mood. Improvisers often stress the need for practicing the blues. It is not so har ...
Pitch-Class Set Theory 1
... The first abstraction is to use pitch classes instead of pitches. This helps a great deal. To take three-note chords, on an 88-key keyboard instrument there are 88x87x86=658,416 possible chords with three notes; if we deal only with the twelve pitch-classes, we have 12x11x10=1,320 sets with three di ...
... The first abstraction is to use pitch classes instead of pitches. This helps a great deal. To take three-note chords, on an 88-key keyboard instrument there are 88x87x86=658,416 possible chords with three notes; if we deal only with the twelve pitch-classes, we have 12x11x10=1,320 sets with three di ...
Chapter 2 How Music Lives: A Musicultural Approach
... and repeated in a performance – either once or many times. Repetitions may be exact, or may change through subsequent repetitions. This is known as varied repetition. Repetitions and patterns are often intuitive, even when one is not familiar with the musical style. For example, you can often tell w ...
... and repeated in a performance – either once or many times. Repetitions may be exact, or may change through subsequent repetitions. This is known as varied repetition. Repetitions and patterns are often intuitive, even when one is not familiar with the musical style. For example, you can often tell w ...
This Worldes Joie Part 3 analysis
... In Mathias’ Homo Sapiens 1941, the first song of an early work, the Seven Poems for R.S. Thomas for tenor, harp and chamber orchestra (1957), a sequence of 8 notes played by the harp at the very beginning functions to an extent like a note-row in serial music. It generates both melodic and harmonic ...
... In Mathias’ Homo Sapiens 1941, the first song of an early work, the Seven Poems for R.S. Thomas for tenor, harp and chamber orchestra (1957), a sequence of 8 notes played by the harp at the very beginning functions to an extent like a note-row in serial music. It generates both melodic and harmonic ...
NCEA Level 2 Music (91275) 2012 Assessment Schedule
... when the flutes have the melody it is legato, and when the strings have it, some notes are played staccato. ...
... when the flutes have the melody it is legato, and when the strings have it, some notes are played staccato. ...
Hugo Wolf`s Der Feuerreiter: Text Painting and Form
... willingness to explore using other musical elements, such as rhythm and texture thusly is achieves a brilliant solution in the problem of dealing with setting text which involves complex plot relationships. The song represents a sense of innovation, as it foreshadows 20th century compositional techn ...
... willingness to explore using other musical elements, such as rhythm and texture thusly is achieves a brilliant solution in the problem of dealing with setting text which involves complex plot relationships. The song represents a sense of innovation, as it foreshadows 20th century compositional techn ...
File
... 3a - demonstrate understanding of the relationship of the shortest unit of sound to longer units of sound using standard notation 3b - read rhythmic patterns including quarter notes, eighth notes, sixteenth notes, half notes, dotted half notes, whole notes, and corresponding rests using traditional ...
... 3a - demonstrate understanding of the relationship of the shortest unit of sound to longer units of sound using standard notation 3b - read rhythmic patterns including quarter notes, eighth notes, sixteenth notes, half notes, dotted half notes, whole notes, and corresponding rests using traditional ...
STUDY GUIDE dynamics tempo articulation
... ): connect two notes that are the same pitch o Legato ( ): the notes are barely separated o Tenuto ( ): the notes are full length o Staccato ( ): space between the notes (short notes) ...
... ): connect two notes that are the same pitch o Legato ( ): the notes are barely separated o Tenuto ( ): the notes are full length o Staccato ( ): space between the notes (short notes) ...
view
... Ganassi, Sylvestro. Regola Rubertina and Lettione Seconda. Venice 1542-1543. English translation by Richard Bodig. Artarmon NSW Australia: Saraband Music, 1999 Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. London: Yale University Press, 1999 Helmholtz, Herman von. ...
... Ganassi, Sylvestro. Regola Rubertina and Lettione Seconda. Venice 1542-1543. English translation by Richard Bodig. Artarmon NSW Australia: Saraband Music, 1999 Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. London: Yale University Press, 1999 Helmholtz, Herman von. ...
The Music Alphabet
... Music’s Alphabet and the Diatonic Major Scale If music is a language then it should have an alphabet like all other languages. The musical alphabet is called the Chromatic Scale. All by itself the chromatic scale is difficult to do much with. This is because all the pitches are the same distance apa ...
... Music’s Alphabet and the Diatonic Major Scale If music is a language then it should have an alphabet like all other languages. The musical alphabet is called the Chromatic Scale. All by itself the chromatic scale is difficult to do much with. This is because all the pitches are the same distance apa ...
van tech music
... A triad is a collection of three pitches played simultaneously (harmonic triad) or in sequence (melodic triad). A Major triad is comprised of the first, third and fifth scale degrees. We call this “spelling a chord”. Triads can also be called chords and are used by composers to add musical interest ...
... A triad is a collection of three pitches played simultaneously (harmonic triad) or in sequence (melodic triad). A Major triad is comprised of the first, third and fifth scale degrees. We call this “spelling a chord”. Triads can also be called chords and are used by composers to add musical interest ...
physics and the guitar jordy netzel lakehead
... Harmonics can be used to tune a guitar; more specifically the third and fourth harmonics are used. The two nodes of the third harmonic are found over the 7th and 19th frets of the guitar. Playing either of these will result in the same note as both of them are 1/3 the length of the open string. The ...
... Harmonics can be used to tune a guitar; more specifically the third and fourth harmonics are used. The two nodes of the third harmonic are found over the 7th and 19th frets of the guitar. Playing either of these will result in the same note as both of them are 1/3 the length of the open string. The ...
midterm-study-presentation
... This section of the band makes its sound by blowing into a hollow tube with plenty of holes ...
... This section of the band makes its sound by blowing into a hollow tube with plenty of holes ...
David Korevaar`s
... investigation of the proportion of minor inflection in this major-key piece could be fruitful – is the placement of more and longer minor-key sections in the last third of the piece related to the placement of the minor inflection two-thirds of the way through the subject (as in m. 4, beat 2; m. 7, ...
... investigation of the proportion of minor inflection in this major-key piece could be fruitful – is the placement of more and longer minor-key sections in the last third of the piece related to the placement of the minor inflection two-thirds of the way through the subject (as in m. 4, beat 2; m. 7, ...
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.