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... melody. While much of what is written here will also apply to many of the musics from related maqam traditions (including Turkey, Iraq, the Arab Gulf, and parts of North Africa, and to a lesser extent traditions from Iran and Central Asia), I do not wish to make claims that are too broad, nor that f ...
... melody. While much of what is written here will also apply to many of the musics from related maqam traditions (including Turkey, Iraq, the Arab Gulf, and parts of North Africa, and to a lesser extent traditions from Iran and Central Asia), I do not wish to make claims that are too broad, nor that f ...
The apparition from the forest
... compositional techniques: the traditional Satz and another Sibelian Satzidea, hitherto little known. By means of the current musical terminology it is not possible to describe the Sibelian Satz-idea adequately. Therefore for this purpose some new terms had to be introduced. The core of the Sibelian ...
... compositional techniques: the traditional Satz and another Sibelian Satzidea, hitherto little known. By means of the current musical terminology it is not possible to describe the Sibelian Satz-idea adequately. Therefore for this purpose some new terms had to be introduced. The core of the Sibelian ...
Intonation Variables in the Performance of Twelve
... enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme favored by string players, unconsciously to a great extent, involves between twenty and thirty audibly distinguishable pitches in an octave. Some present-day composers3 h ...
... enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme favored by string players, unconsciously to a great extent, involves between twenty and thirty audibly distinguishable pitches in an octave. Some present-day composers3 h ...
The History of Tuning
... to expand their religion. China also traded with the Mediterranean Cultures, but they were just too far away to have much influence. Egypt and Sumerian were also a early civilizations. Egypt was established on a narrow river valley and kept the same name and culture, there was some language drift. S ...
... to expand their religion. China also traded with the Mediterranean Cultures, but they were just too far away to have much influence. Egypt and Sumerian were also a early civilizations. Egypt was established on a narrow river valley and kept the same name and culture, there was some language drift. S ...
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its
... collection of nine pitches, affectionately known by many as the “Tcherepnin Scale.” This collection, which is termed more generically the “nine-step scale,” is symmetrical in its construction. Having only four distinct transpositions, its structure can be viewed in a variety of ways. It is the combi ...
... collection of nine pitches, affectionately known by many as the “Tcherepnin Scale.” This collection, which is termed more generically the “nine-step scale,” is symmetrical in its construction. Having only four distinct transpositions, its structure can be viewed in a variety of ways. It is the combi ...
Russian Pitch-Class Set Analysis and the Music of Webern
... Anton Vebern (Anton Webern) and Muzyka Veberna (The Music of Webern), which were finally published in 1984 and 1999, respectively.14 Kholopova first presented their findings to the Union of Composers of the USSR in the early 1970s, and then published a follow-up article in 1973.15 In the article she ...
... Anton Vebern (Anton Webern) and Muzyka Veberna (The Music of Webern), which were finally published in 1984 and 1999, respectively.14 Kholopova first presented their findings to the Union of Composers of the USSR in the early 1970s, and then published a follow-up article in 1973.15 In the article she ...
music-10th-edition-kamien-test-bank
... C. phrase. D. step. 101.A melodic phrase ending that sets up expectations for continuation is known as a(n) A. incomplete cadence. B. complete cadence. C. sentence. D. theme. 102.A cadence is A. the emotional focal point of a melody. B. a resting place at the end of a phrase. C. a melody that serves ...
... C. phrase. D. step. 101.A melodic phrase ending that sets up expectations for continuation is known as a(n) A. incomplete cadence. B. complete cadence. C. sentence. D. theme. 102.A cadence is A. the emotional focal point of a melody. B. a resting place at the end of a phrase. C. a melody that serves ...
Harmonic innovations in the piano works of Debussy and Ravel
... Ravel used the melodic pattern with far greater regularity t han the scale pattern . on ...
... Ravel used the melodic pattern with far greater regularity t han the scale pattern . on ...
Know Your Chords - Alan`s Guitar Page
... you play while singing your favorite songs. As you learn more songs, you are confronted with a bewildering array of chord shapes with sometimes cryptic names. After a while you start to get used to which chords work together and maybe you start putting your own words and tunes to them. Yet there nev ...
... you play while singing your favorite songs. As you learn more songs, you are confronted with a bewildering array of chord shapes with sometimes cryptic names. After a while you start to get used to which chords work together and maybe you start putting your own words and tunes to them. Yet there nev ...
scale networks and debussy
... precedes b in the circular ordering; it is two ascending scale steps if a immediately precedes a note that immediately precedes b, and so on. 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 sep ...
... precedes b in the circular ordering; it is two ascending scale steps if a immediately precedes a note that immediately precedes b, and so on. 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 sep ...
Achille-Claude Debussy
... on Debussy's working desk and evokes a distant past. The pianist Claudio Arrau considered the piece to be one of Debussy's greatest preludes: "It's miraculous that he created, in so few notes, this kind of depth." ...
... on Debussy's working desk and evokes a distant past. The pianist Claudio Arrau considered the piece to be one of Debussy's greatest preludes: "It's miraculous that he created, in so few notes, this kind of depth." ...
Dissonant Harmony and “Seed-Tones”
... of gongs and bells, which often feature many non-harmonic partials. His dissonant harmony constructs “tone pleromas” by combining individual tones connected by geometric relationships (as opposed to arithmetic ones), which manifest musically as cycles of equal intervals (i.e., the circle of fifths). ...
... of gongs and bells, which often feature many non-harmonic partials. His dissonant harmony constructs “tone pleromas” by combining individual tones connected by geometric relationships (as opposed to arithmetic ones), which manifest musically as cycles of equal intervals (i.e., the circle of fifths). ...
Glossary - Theory Essentials Home Page
... Gypsy scale (noun) a scale that is associated with Hungarian folk music that is built on the following pattern: major 2nd, minor 2nd, augmented 2nd, minor 2nd, minor 2nd, augmented 2nd, minor 2nd half cadence (noun) a cadence that ends with a dominant chord, usually found at the end of a section of ...
... Gypsy scale (noun) a scale that is associated with Hungarian folk music that is built on the following pattern: major 2nd, minor 2nd, augmented 2nd, minor 2nd, minor 2nd, augmented 2nd, minor 2nd half cadence (noun) a cadence that ends with a dominant chord, usually found at the end of a section of ...
Modelling the similarity of pitch collections with expectation tensors
... virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applications in music analysis and composition, in modelling of musical cognition, and in the des ...
... virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applications in music analysis and composition, in modelling of musical cognition, and in the des ...
Ashley Howard-Lewis Senior Thesis April 2015
... intentionally avoided giving listeners any sense or feel of a three beat pattern. The chords at the beginning avoid down beats altogether, often even landing on off-beats. I also incorporated quarter and eighth note triplets in conjunction with quarter notes and eighth notes so that listeners will s ...
... intentionally avoided giving listeners any sense or feel of a three beat pattern. The chords at the beginning avoid down beats altogether, often even landing on off-beats. I also incorporated quarter and eighth note triplets in conjunction with quarter notes and eighth notes so that listeners will s ...
The Artist`s Refuge: Idiosyncratic Properties of the
... the most useful of these is as two fully-diminished seventh chords superimposed at atop one another at a minor second interval. Imagining this, we find tonal “nodes” located on each constituent pitch of the lower chord. Each of these represents a possible tonal center, which may be manifested as eit ...
... the most useful of these is as two fully-diminished seventh chords superimposed at atop one another at a minor second interval. Imagining this, we find tonal “nodes” located on each constituent pitch of the lower chord. Each of these represents a possible tonal center, which may be manifested as eit ...
A New American Development in Music
... ment can be observed, and that by using indigenous materials and concepts they confirm the great quality of the American heritage and extend its tradition. The author gratefully acknowledges the kind assistance of Professor Paul Louis Abel who has very generously served as dissertation advisor; of t ...
... ment can be observed, and that by using indigenous materials and concepts they confirm the great quality of the American heritage and extend its tradition. The author gratefully acknowledges the kind assistance of Professor Paul Louis Abel who has very generously served as dissertation advisor; of t ...
Tonality
Tonality is a musical system in which pitches or chords are arranged so as to induce a hierarchy of perceived relations, stabilities, and attractions. The pitch or chord with the greatest stability is called the tonic. The most common use of the term ""is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910"" (Hyer 2001). While today classical musics may practice or avoid any sort of tonality, harmony in popular musics remains tonal in some sense, and harmony in folk and jazz musics include many, if not all, modal or tonal characteristics, while having different properties from common-practice classical music.""All harmonic idioms in popular music are tonal, and none is without function"" (Tagg 2003, 534).""Tonality is an organized system of tones (e.g., the tones of a major or minor scale) in which one tone (the tonic) becomes the central point to which the remaining tones are related. In tonality, the tonic (tonal center) is the tone of complete relaxation, the target toward which other tones lead"" (Benward & Saker 2003, 36).""Tonal music is music that is unified and dimensional. Music is unified if it is exhaustively referable to a precompositional system generated by a single constructive principle derived from a basic scale-type; it is dimensional if it can nonetheless be distinguished from that precompositional ordering"" (Pitt 1995, 299).The term tonalité originated with Alexandre-Étienne Choron (1810) and was borrowed by François-Joseph Fétis in 1840 (Reti 1958,; Simms 1975, 119; Judd 1998a, 5; Heyer 2001; Brown 2005, xiii). According to Carl Dahlhaus, however, the term tonalité was only coined by Castil-Blaze in 1821 (Dahlhaus 1967, 960; Dahlhaus 1980, 51).Although Fétis used it as a general term for a system of musical organization and spoke of types de tonalités rather than a single system, today the term is most often used to refer to major–minor tonality, the system of musical organization of the common practice period. Major-minor tonality is also called harmonic tonality, diatonic tonality, common practice tonality, functional tonality, or just tonality.