The apparition from the forest
... Dahlström’s index (see Bibliography). The principles in Dahlström (1987:5–6 and 2003: XXXVII, XXXIX, XLI) have also been followed in this study. In the footnotes compositions are listed according to opus number. Everywhere in this study the last printed version of a reworked composition is under dis ...
... Dahlström’s index (see Bibliography). The principles in Dahlström (1987:5–6 and 2003: XXXVII, XXXIX, XLI) have also been followed in this study. In the footnotes compositions are listed according to opus number. Everywhere in this study the last printed version of a reworked composition is under dis ...
Nicola Vicentino and the Enharmonic Diesis
... compositions may not be considered as musically sophisticated as those of his contemporaries, they nonetheless demonstrate Vicentino‟s revolutionary musical ideas and novel 31-tone tuning system. Vicentino claims in his 1555 treatise, Ancient Music Adapted to Modern Practice, that the microtonal inf ...
... compositions may not be considered as musically sophisticated as those of his contemporaries, they nonetheless demonstrate Vicentino‟s revolutionary musical ideas and novel 31-tone tuning system. Vicentino claims in his 1555 treatise, Ancient Music Adapted to Modern Practice, that the microtonal inf ...
08_chapter - ii
... came into existence. The references from Chilappathikaram proves that Mohana was widely used during the period as early as the 2 nd century A.D. The phrases of the raga was used right from the time of or even before the present system of raga classification which came into existence. Mohana or scale ...
... came into existence. The references from Chilappathikaram proves that Mohana was widely used during the period as early as the 2 nd century A.D. The phrases of the raga was used right from the time of or even before the present system of raga classification which came into existence. Mohana or scale ...
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 ...
... In some pieces of music, all members ofa chord sound at the same time. But in others, a chord may be arpeggiated-played one pitch at a time-as in the Bach prelude (Example 8.1) and the bass-clefpart ofMozart's ''Voi, che sapete," shovvn in Example 8.lla. (Mozart probably chose to arpeggiatc the chor ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
Harmonic innovations in the piano works of Debussy and Ravel
... It must not be thought that intervals or conventional triads are being neglected. ...
... It must not be thought that intervals or conventional triads are being neglected. ...
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 ...
At The Cutting Edge: Three American Theorists at The End of The
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
Know Your Chords - Alan`s Guitar Page
... more tones, however, two tones are known as an “interval” and don’t produce the kind of colour or flavor that is made by the combination of three or more tones. An interval is the musical difference in pitch between two different tones. An interval from one pitch to a pitch of exactly twice the freq ...
... more tones, however, two tones are known as an “interval” and don’t produce the kind of colour or flavor that is made by the combination of three or more tones. An interval is the musical difference in pitch between two different tones. An interval from one pitch to a pitch of exactly twice the freq ...
Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fif ...
... S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fif ...
Intonation Variables in the Performance of Twelve
... (involving the Pythagorean comma) is discussed along with pitch adjustments (involving the syntonic comma, diaskhisma, diesis, etc.) sometimes required for harmonic reasons. Arguments by composers, performers and others concerning tempered versus untempered intonation are presented, followed by an a ...
... (involving the Pythagorean comma) is discussed along with pitch adjustments (involving the syntonic comma, diaskhisma, diesis, etc.) sometimes required for harmonic reasons. Arguments by composers, performers and others concerning tempered versus untempered intonation are presented, followed by an a ...
Tuning Continua and Keyboard Layouts - Computer
... tuning, but also across a range of tunings. For example, a 12-edo (equal divisions of the octave) major chord, a 19-edo major chord, and a Pythagorean major chord might all be fingered in the same way. This paper explores the scope of this idea by parameterising tunings using regular temperaments wh ...
... tuning, but also across a range of tunings. For example, a 12-edo (equal divisions of the octave) major chord, a 19-edo major chord, and a Pythagorean major chord might all be fingered in the same way. This paper explores the scope of this idea by parameterising tunings using regular temperaments wh ...
AP Music Theory Syllabus
... Crocker, Emily and Snyder, Audrey. Experiencing Choral Music Sight-Singing, Profecient & Advanced Grades 9-12, Glencoe/McGraw-Hill. 2005 Turek, Ralph. The Elements of Music: Concepts and Applications, Vol. I, 2nd ed. New York: McGraw-Hill. Includes workbook & CD. 1996 Turek, Ralph. Theory for Today’ ...
... Crocker, Emily and Snyder, Audrey. Experiencing Choral Music Sight-Singing, Profecient & Advanced Grades 9-12, Glencoe/McGraw-Hill. 2005 Turek, Ralph. The Elements of Music: Concepts and Applications, Vol. I, 2nd ed. New York: McGraw-Hill. Includes workbook & CD. 1996 Turek, Ralph. Theory for Today’ ...
How Music Works
... tunings for certain kinds of music, such as those sung by an a cappella choir. During the Baroque period, composers needed to make alterations in these pure tunings to allow modulations to more distant keys. Various new systems were developed that alter some intervals from pure ratios and are called ...
... tunings for certain kinds of music, such as those sung by an a cappella choir. During the Baroque period, composers needed to make alterations in these pure tunings to allow modulations to more distant keys. Various new systems were developed that alter some intervals from pure ratios and are called ...
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 ...
Linear Chromatic Flyer - James Jones Instruments
... The Linear Chromatic layout adapts well to 2, 3 and 4 bridge versions and different chromatic ranges, with a 4 bridge - 4 1/2 octave layout providing the best balance of chromatic range, playability and compact size. The 4 1/2 octave Linear Chromatic layout provided significant structural challenges ...
... The Linear Chromatic layout adapts well to 2, 3 and 4 bridge versions and different chromatic ranges, with a 4 bridge - 4 1/2 octave layout providing the best balance of chromatic range, playability and compact size. The 4 1/2 octave Linear Chromatic layout provided significant structural challenges ...
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its
... formed by alternating three semitones with one semitone) and its inversion TnI such that n = any even integer. In addition, it is a repeating sequence of two semitones and one whole tone. Finally, it is the complement of the augmented triad. The presence of the scale in musical works is frequent and ...
... formed by alternating three semitones with one semitone) and its inversion TnI such that n = any even integer. In addition, it is a repeating sequence of two semitones and one whole tone. Finally, it is the complement of the augmented triad. The presence of the scale in musical works is frequent and ...
FREE Sample Here - We can offer most test bank and
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
FREE Sample Here
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
melody - Test Bank 1
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
... The third statement is on the dominant, the fourth occurs on the sixth degree of the scale, while the last two return to the tonic. The process of modulation occurs during the ...
Mode (music)
In the theory of Western music, mode (from Latin modus, ""measure, standard, manner, way, size, limit of quantity, method"") (Powers 2001, Introduction; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.