as a PDF
... Consequently, these notes are sensitive and have a specific way of resolving when the next functional category is achieved. Stabilizers (s) combine with foundation and active tones to produce complete triads. Most of the time they are inert, but sometimes they may also act like dissonances in terms ...
... Consequently, these notes are sensitive and have a specific way of resolving when the next functional category is achieved. Stabilizers (s) combine with foundation and active tones to produce complete triads. Most of the time they are inert, but sometimes they may also act like dissonances in terms ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... nontraditional means; may be tertian and non-tertian open-fifth chord -- a traditional sonority that is transformed into something unusual by leaving out a note; in this case a triad without a third pandiatonicism -- a passage of music that uses only the tones of a single diatonic scale but oes not ...
... nontraditional means; may be tertian and non-tertian open-fifth chord -- a traditional sonority that is transformed into something unusual by leaving out a note; in this case a triad without a third pandiatonicism -- a passage of music that uses only the tones of a single diatonic scale but oes not ...
1 Terms and Definitions Characteristics of Modern and Postmodern
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
Lecture 06 Part II a little more history of science
... • Two tones are consonant when they sound pleasing together. • They are dissonant if they do not. • BUT whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and ...
... • Two tones are consonant when they sound pleasing together. • They are dissonant if they do not. • BUT whether or not a harmony is pleasing is a matter of personal taste, as there are consonant and dissonant harmonies, both of which are pleasing to the ears of some and ...
presentation source
... 1. Use just major third, divided into two equal intervals 2. This defines a wholetone interval - how many cents? (answer: 193.2 cents) ...
... 1. Use just major third, divided into two equal intervals 2. This defines a wholetone interval - how many cents? (answer: 193.2 cents) ...
Musical Scales and Tonality - University of Toronto Scarborough
... Is the division of the octave into 12 steps a norm? • The use of quartertones (24 steps to the octave) • First proposed in West in 19th century, uses freq ratio of 21/24 • http://www.youtube.com/watch?v= Nxrfoar3HfQ • Karl Stockhausen • Works using 7 – 60 steps per octave • Classical Indian music • ...
... Is the division of the octave into 12 steps a norm? • The use of quartertones (24 steps to the octave) • First proposed in West in 19th century, uses freq ratio of 21/24 • http://www.youtube.com/watch?v= Nxrfoar3HfQ • Karl Stockhausen • Works using 7 – 60 steps per octave • Classical Indian music • ...
music questions section i
... a. Usually decorative or expressive NEVER structural What is another name for sharps or flats? a. Accidentals What is a natural? a. When a sharp or flat is “undone” What happens when the music is notated? a. All three types of minor scales use the same key signature How many scales, major or minor, ...
... a. Usually decorative or expressive NEVER structural What is another name for sharps or flats? a. Accidentals What is a natural? a. When a sharp or flat is “undone” What happens when the music is notated? a. All three types of minor scales use the same key signature How many scales, major or minor, ...
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Harmony 1
... Developing knowledge and skills in independent , practical and analytical , theoretically based approach to musical literature. Practical mastery of style and characteristic harmonic phenomena. SYLLABUS (brief outline and summary of topics, max. 10 sentences) Development of tonality-consonance and d ...
... Developing knowledge and skills in independent , practical and analytical , theoretically based approach to musical literature. Practical mastery of style and characteristic harmonic phenomena. SYLLABUS (brief outline and summary of topics, max. 10 sentences) Development of tonality-consonance and d ...
MSP_lecture10
... Transitional attempt to create a transposable scale based on simple integer ratios ...
... Transitional attempt to create a transposable scale based on simple integer ratios ...
Learning Outcome
... Understanding of time signatures and sub-divisions up to eighth notes How to read tablature How to read standard notation Performance of basic tune How to play and identify the natural notes on all six strings to the third fret. The concepts of 3/4 and 4/4 time, pickup notes and ties. Identify notes ...
... Understanding of time signatures and sub-divisions up to eighth notes How to read tablature How to read standard notation Performance of basic tune How to play and identify the natural notes on all six strings to the third fret. The concepts of 3/4 and 4/4 time, pickup notes and ties. Identify notes ...
Course Description
... harmonic analysis The course includes the following scales: major, minor, modal, pentatonic, and whole tone. The course covers the following concepts or procedures based in common-practice tonality: ...
... harmonic analysis The course includes the following scales: major, minor, modal, pentatonic, and whole tone. The course covers the following concepts or procedures based in common-practice tonality: ...
Consonance in Music and Mathematics: Application
... 2.2. Wave equation and Fourier analysis Musical instruments are mechanic-acoustic systems The concept of timbre is what distinguishes one since they are constituted by two types of vibrainstrument’s sound from another and this is a con- tions. The ones in a solid object, the instrument sequence of t ...
... 2.2. Wave equation and Fourier analysis Musical instruments are mechanic-acoustic systems The concept of timbre is what distinguishes one since they are constituted by two types of vibrainstrument’s sound from another and this is a con- tions. The ones in a solid object, the instrument sequence of t ...
Document
... MELODY IN A COMPOSITION INCLUDES 1. THE PROMINENT MELODIC LINES AND THE REPETION AND VARIATION OF THES MELODIC LINES THROUGHOUT THE COMPOSITION. 2. THE RANGE AND CONTOUR OF MELODIC MATERIAL. 3. THE PHRASE STRUCTURE OF THE MELODIC LINES. 4. THE SCALE BASIS FOR MELODIC MATERIALS. 5. THE RELATIONSHIP A ...
... MELODY IN A COMPOSITION INCLUDES 1. THE PROMINENT MELODIC LINES AND THE REPETION AND VARIATION OF THES MELODIC LINES THROUGHOUT THE COMPOSITION. 2. THE RANGE AND CONTOUR OF MELODIC MATERIAL. 3. THE PHRASE STRUCTURE OF THE MELODIC LINES. 4. THE SCALE BASIS FOR MELODIC MATERIALS. 5. THE RELATIONSHIP A ...
Terms cont`d. - La Salle University
... • Polyphonic - two or more melodies at the same time.May be with or without accompaniment. This is "the crowning achievement of Western Music". ...
... • Polyphonic - two or more melodies at the same time.May be with or without accompaniment. This is "the crowning achievement of Western Music". ...
Modern Music, 1900-1950 By Michelle Miller
... Igor Stravinsky (1882-1971) cont Neo-Classical refers to the reduced size and/or instrumental make-up of a chosen ensemble, a return to the use of simpler formal structures, consciously altered melodic and/or harmonic concepts, or any combination of the above elements. Stravinsky was never cont ...
... Igor Stravinsky (1882-1971) cont Neo-Classical refers to the reduced size and/or instrumental make-up of a chosen ensemble, a return to the use of simpler formal structures, consciously altered melodic and/or harmonic concepts, or any combination of the above elements. Stravinsky was never cont ...
essay - Dartmouth Math Home
... kind of static sound. Furthermore, fractal relationships in intensity are also manifested in rhythmic structures; the strongest 1/f relationships that have been found in music are found in frequencies of less than 1 Hz, that is, rhythmic frequencies (Loy). This suggests that musical downbeats have ...
... kind of static sound. Furthermore, fractal relationships in intensity are also manifested in rhythmic structures; the strongest 1/f relationships that have been found in music are found in frequencies of less than 1 Hz, that is, rhythmic frequencies (Loy). This suggests that musical downbeats have ...
International Baccalaureate Music and Advanced Placement Music
... railroads. This was all made possible by the Industrial Revolution, which allowed a series of invention, including the cast iron frame for the piano, an instrument now found in most homes (upper and middle classes). The culture of the 18th century was under the patronage of an aristocracy for whom t ...
... railroads. This was all made possible by the Industrial Revolution, which allowed a series of invention, including the cast iron frame for the piano, an instrument now found in most homes (upper and middle classes). The culture of the 18th century was under the patronage of an aristocracy for whom t ...
elements-of-music
... combination of notes that are in harmony due to the relationship between their frequencies. S Dissonance is a clash ...
... combination of notes that are in harmony due to the relationship between their frequencies. S Dissonance is a clash ...
Doc 2
... (octave) or more) or “small” (less than an octave) Phrase: a complete musical idea with a beginning and end. Usually between 4-8 measures. Texture: how the different melodies are put together. Can be described as “thick” (lots of notes on top of each other) or “thin” (unison (all doing the same thin ...
... (octave) or more) or “small” (less than an octave) Phrase: a complete musical idea with a beginning and end. Usually between 4-8 measures. Texture: how the different melodies are put together. Can be described as “thick” (lots of notes on top of each other) or “thin” (unison (all doing the same thin ...
Consonance and dissonance
In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion: a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. Consonance and dissonance define a level of sweetness / harshness, pleasantness / unpleasantness, acceptability / unacceptability, of the sounds or intervals under consideration. As Hindemith stressed, ""The two concepts have never been completely explained, and for a thousand years the definitions have varied"" (Hindemith 1942, p. 85).The opposition can be made in different contexts:In acoustics or psychophysiology, the distinction may be objective. In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).In music, even if the opposition often is founded of the preceding, objective distinction, it more often is subjective, conventional, cultural, and style-dependent. Dissonance can then be defined as a combination of sounds that does not belong to the style under consideration; in recent music, what is considered stylistically dissonant may even correspond to what is said consonant in the context of acoustics (e.g. a major triad in atonal music).In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second is heard. For this reason, consonance and dissonance have been considered particularly in the case of polyphonic Occidental music, and the present article is concerned mainly with this case.Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psychophysiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context – which is one of the reasons why the musical definition of consonance/dissonance cannot match the psychophysiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of 'dissonance' and of 'noise'. (See also Noise in music, Noise music and Noise (acoustic).)While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself the dissonance: it is this tone in particular that needs ""resolution"" through a specific voice leading.