Nicola Vicentino and the Enharmonic Diesis
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
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 ...
An analysis of and conductor`s guide to Vincent Persichetti`s
... borrowed excerpts seem drastically different from one another on the surface, Persichetti acknowledged that each shared a unifying kernel. In Twentieth-Century Harmony, he explains that unifying kernels are short musical fragments of at least two notes that can form the nucleus of a work and from wh ...
... borrowed excerpts seem drastically different from one another on the surface, Persichetti acknowledged that each shared a unifying kernel. In Twentieth-Century Harmony, he explains that unifying kernels are short musical fragments of at least two notes that can form the nucleus of a work and from wh ...
Russian Pitch-Class Set Analysis and the Music of Webern
... Austrian Walter Kolneder (1961); and the Belgian Henri Pousseur (1955) all considered Webern’s music in a way that identified important two-, three-, and four-note groups—often by featuring pitch-class, interval-class, and set-class equivalences—along with similar groups of notes containing semitone ...
... Austrian Walter Kolneder (1961); and the Belgian Henri Pousseur (1955) all considered Webern’s music in a way that identified important two-, three-, and four-note groups—often by featuring pitch-class, interval-class, and set-class equivalences—along with similar groups of notes containing semitone ...
Know Your Chords - Alan`s Guitar Page
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
Dissonant Harmony and “Seed-Tones”
... would have violated his campaign against formalism” (1999, 135). After observing that “the most fundamental of Rudhyar’s theories had to do with ‘tone,’ an elusive concept grounded in his utopian hopes,” Oja concludes that “‘tone,’ as manifested in Rudhyar’s own music, was achieved mainly through a ...
... would have violated his campaign against formalism” (1999, 135). After observing that “the most fundamental of Rudhyar’s theories had to do with ‘tone,’ an elusive concept grounded in his utopian hopes,” Oja concludes that “‘tone,’ as manifested in Rudhyar’s own music, was achieved mainly through a ...
Stravinsky and the Octatonic: A Reconsideration
... playing a noodling line that suggests D minor and D mixolydian. It is joined a measure later by a ute gure (not shown in the example) that also does not belong to the B melodic minor collection. Such superimpositions of melodic minor and other material are also characteristic of the nal two ex ...
... playing a noodling line that suggests D minor and D mixolydian. It is joined a measure later by a ute gure (not shown in the example) that also does not belong to the B melodic minor collection. Such superimpositions of melodic minor and other material are also characteristic of the nal two ex ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... music as a phenomenon born of a complex relation of cultural learning and the metaphysical nature of the mind and will that manifests itself through the action of the intellect and senses. The metaphysical principle guiding musical expression is both “objective and subjective, a necessary result of ...
... music as a phenomenon born of a complex relation of cultural learning and the metaphysical nature of the mind and will that manifests itself through the action of the intellect and senses. The metaphysical principle guiding musical expression is both “objective and subjective, a necessary result of ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... progresses through voice-leading, modulation, and pitch-class invariance, to end with an original theory of indecisive, multi-colored tonics. My basic assertion is that La mer‘s tonics change in two ways. While tonic pitch, color, and ―clarity‖ shift incessantly, particularly in Jeux de vagues, the ...
... progresses through voice-leading, modulation, and pitch-class invariance, to end with an original theory of indecisive, multi-colored tonics. My basic assertion is that La mer‘s tonics change in two ways. While tonic pitch, color, and ―clarity‖ shift incessantly, particularly in Jeux de vagues, the ...
an analytical conductor`s guide to the satb a cappella works of arvo
... Russian Orthodox liturgy discussed later in the chapter), which is usually, but not always, the tonic; the second voice moves through the pitches of a major or minor triad. Paul Hillier states that there is a constant relationship between these two melodic lines, and labels them "M" (the stepwise me ...
... Russian Orthodox liturgy discussed later in the chapter), which is usually, but not always, the tonic; the second voice moves through the pitches of a major or minor triad. Paul Hillier states that there is a constant relationship between these two melodic lines, and labels them "M" (the stepwise me ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... progressions from unisons to octaves (or vice versa), while prohibiting the analogous progressions between fifths and twelfths. Most pedagogues instead treat perfect intervals as a unified class subject to the same fundamental constraints: in general, theorists either warn against both antiparallel ...
... progressions from unisons to octaves (or vice versa), while prohibiting the analogous progressions between fifths and twelfths. Most pedagogues instead treat perfect intervals as a unified class subject to the same fundamental constraints: in general, theorists either warn against both antiparallel ...
Automatic Chord Detection in Polyphonic Audio Data
... Another application of this thesis is automatic annotation of music. An annotated music database can then be searched for specific chord sequences and harmonic or emotional characteristics. Previous approaches to chord detection often severely restricted the types of analysable music by considering ...
... Another application of this thesis is automatic annotation of music. An annotated music database can then be searched for specific chord sequences and harmonic or emotional characteristics. Previous approaches to chord detection often severely restricted the types of analysable music by considering ...
Chapter One Introduction to Quarter
... secondo. The primo repeats the motive, transposed down a semitone, and is again echoed by the secondo. This results in the motive moving through a sequence based on successive transpostions descending by quarter tone, but this descending sequence is concealed by the score. The staccato eighthnotes i ...
... secondo. The primo repeats the motive, transposed down a semitone, and is again echoed by the secondo. This results in the motive moving through a sequence based on successive transpostions descending by quarter tone, but this descending sequence is concealed by the score. The staccato eighthnotes i ...
... (Example 8.1) and the bass-clefpart ofMozart's ''Voi, che sapete," shovvn in Example 8.lla. (Mozart probably chose to arpeggiatc the chords here because a singer onstage is pretending to accompany the aria on a guitar; the arpeggiated chords in the left hand mimic the sound ofa guitar.) To analyze t ...
Dissertation MUSI591 – 10C (HAM)
... occurred in the Romantic era concert. The short, improvisatory pieces primarily functioned as introductions to the large-scale works that succeeded them; they also had the utilitarian purpose of “ascertaining the qualities of the pianoforte, perhaps unfamiliar to him [the pianist]” according to Czer ...
... occurred in the Romantic era concert. The short, improvisatory pieces primarily functioned as introductions to the large-scale works that succeeded them; they also had the utilitarian purpose of “ascertaining the qualities of the pianoforte, perhaps unfamiliar to him [the pianist]” according to Czer ...
A propos du « mouvement musical » chez Debussy :
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
FREE Sample Here
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
FREE Sample Here
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
a multipitch approach to tonic identification in indian
... plays the tonic alongside the lower and upper fifth. Thus, a fifth relationship between two frequent notes might serve as a good indicator for the tonic. In the study of Western music, templates learned from music cognition experiments have been used for the related task of key detection, where a pi ...
... plays the tonic alongside the lower and upper fifth. Thus, a fifth relationship between two frequent notes might serve as a good indicator for the tonic. In the study of Western music, templates learned from music cognition experiments have been used for the related task of key detection, where a pi ...
What Is a CadenCe?
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
Chords and Ragas based on the Melodic minor scale
... e.g.Raga Kalyānadāyini: Arohana: S R2 G3 M2 D2 N3 S Avarohana: S N3 D2 M2 G3 R2 S Raga Kalyanadayini, along with D1 note has all the notes of the 3rd mode of the Melodic minor scale. Similarly, if we use the D1, and not the D2, the resulting scale has same notes as Raga Latangi (number 63 in the lis ...
... e.g.Raga Kalyānadāyini: Arohana: S R2 G3 M2 D2 N3 S Avarohana: S N3 D2 M2 G3 R2 S Raga Kalyanadayini, along with D1 note has all the notes of the 3rd mode of the Melodic minor scale. Similarly, if we use the D1, and not the D2, the resulting scale has same notes as Raga Latangi (number 63 in the lis ...
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA
... tanpura. In this case, however, all the notes are produced together, and hence merge to create a different effect. The swaramandal (a group or assembly of notes) is a kind of a mini harp, which is used by some musicians to provide the reference. This is a multi-stringed hand-held instrument, where t ...
... tanpura. In this case, however, all the notes are produced together, and hence merge to create a different effect. The swaramandal (a group or assembly of notes) is a kind of a mini harp, which is used by some musicians to provide the reference. This is a multi-stringed hand-held instrument, where t ...
Using bagpipe.tex
... \psk, and \fsk provide for small horizontal spaces (they stand for point skip and flag skip). They are related to the note width for open music and to the note spacing ...
... \psk, and \fsk provide for small horizontal spaces (they stand for point skip and flag skip). They are related to the note width for open music and to the note spacing ...
PACOTE 7.indd - Portal de Periódicos da UnB
... of analysis may illuminate the Sonata; for example, linear analysis is helpful at deeper levels for a tonal perspective, but it has difficulty portraying some integral elements at the foreground level. Analysis using subsets of the twelve-tone row would be useful for the analysis of the row itself b ...
... of analysis may illuminate the Sonata; for example, linear analysis is helpful at deeper levels for a tonal perspective, but it has difficulty portraying some integral elements at the foreground level. Analysis using subsets of the twelve-tone row would be useful for the analysis of the row itself b ...