Musical Intervals and Scales
... ‘a discrete set of pitches in such a way as to yield the maximum possible number of consonant combinations (or the minimum possible number of dissonances) when two or more notes of the set are sounded together.’ ...
... ‘a discrete set of pitches in such a way as to yield the maximum possible number of consonant combinations (or the minimum possible number of dissonances) when two or more notes of the set are sounded together.’ ...
HARMONIC CONSONANCE: A THEORETIC AND COGNITIVE
... indeterminacy and a probabilistic behaviour of the components of the acoustic chain. The main point is that even if we can not localise this phenomena precisely in the chain, we will be able to predict the final global representation accessible to the mind. It allows to establish a relation in betwe ...
... indeterminacy and a probabilistic behaviour of the components of the acoustic chain. The main point is that even if we can not localise this phenomena precisely in the chain, we will be able to predict the final global representation accessible to the mind. It allows to establish a relation in betwe ...
The Elements of Music
... enrichment to the melody – Harmony in the sense of chord changes, changing harmony *** melody is usually closely bound to and grows out of harmony ...
... enrichment to the melody – Harmony in the sense of chord changes, changing harmony *** melody is usually closely bound to and grows out of harmony ...
1 Consonance and Dissonance in Theory, Practice and Science
... commonality depends only on those pitches that fall in the same semitone categories, and their perceptual salience. The theory of pitch commonality is an attempt to answer simple music-theoretic questions such as: Why do successive isolated tones spanning octave, fifth and fourth intervals sound mor ...
... commonality depends only on those pitches that fall in the same semitone categories, and their perceptual salience. The theory of pitch commonality is an attempt to answer simple music-theoretic questions such as: Why do successive isolated tones spanning octave, fifth and fourth intervals sound mor ...
Musical Terms: Musicians use certain words and phrases (that may
... Musical Terms: Musicians use certain words and phrases (that may have a different meaning in common usage) to describe musical elements. Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pit ...
... Musical Terms: Musicians use certain words and phrases (that may have a different meaning in common usage) to describe musical elements. Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pit ...
Intervals and Dissonance in Human Evolution
... Many other composers pursued similar directions, among them Dane Rudhyer. In his view the inclusion of dissonance is “identifying opposites; metaphysically it is the power of relating spirit to matter.” Like Anthroposophy, his system also related the complication of musical intervals to the developm ...
... Many other composers pursued similar directions, among them Dane Rudhyer. In his view the inclusion of dissonance is “identifying opposites; metaphysically it is the power of relating spirit to matter.” Like Anthroposophy, his system also related the complication of musical intervals to the developm ...
Review for Exam No.
... Is called the tonic, or keynote Assumes greater importance than the rest of the notes Serves as the home base around which others revolve All of the above ...
... Is called the tonic, or keynote Assumes greater importance than the rest of the notes Serves as the home base around which others revolve All of the above ...
Music Fundamentals – Quiz 1 Review Pitch and Intervals Identify the
... the treble clef and the bottom space for those in the bass clef; the first example is completed for you. ...
... the treble clef and the bottom space for those in the bass clef; the first example is completed for you. ...
Tonal Harmony Introduction
... consists of two pitches whose frequencies are in the ratio of 1:2, separated by 12 half steps ...
... consists of two pitches whose frequencies are in the ratio of 1:2, separated by 12 half steps ...
Chapter 3
... Diatonic sounds more stable, because it draws most of its material from the notes of the scale it uses. Chromatic sounds a little wilder, because it often departs from the key of the piece and uses tones that are not considered part of the scale. ...
... Diatonic sounds more stable, because it draws most of its material from the notes of the scale it uses. Chromatic sounds a little wilder, because it often departs from the key of the piece and uses tones that are not considered part of the scale. ...
Elements of Music - Harmony
... Keys can also be major or minor. Each key has a family of chords associated with it. Modulation is the process of changing from one key center (tonic) to another. Sometimes a piece of music will have several different key centers. Harmony is often described in terms of its relative harshness: 1. Dis ...
... Keys can also be major or minor. Each key has a family of chords associated with it. Modulation is the process of changing from one key center (tonic) to another. Sometimes a piece of music will have several different key centers. Harmony is often described in terms of its relative harshness: 1. Dis ...
Ch11 Lecture Part I
... • Tone height: A sound quality whereby a sound is heard to be of higher or lower pitch; monotonically related to frequency • Tone chroma: A sound quality shared by tones that have the same octave interval • Musical helix: Can help visualize musical pitch • As frequency increases – Tone height increa ...
... • Tone height: A sound quality whereby a sound is heard to be of higher or lower pitch; monotonically related to frequency • Tone chroma: A sound quality shared by tones that have the same octave interval • Musical helix: Can help visualize musical pitch • As frequency increases – Tone height increa ...
Ancient Music
... music. He went to the blacksmiths to learn how this had happened by looking at their tools, he discovered that it was because the anvils were "simple ratios of each other, one was half the size of the first, another was 2/3 the size, and so on. ...
... music. He went to the blacksmiths to learn how this had happened by looking at their tools, he discovered that it was because the anvils were "simple ratios of each other, one was half the size of the first, another was 2/3 the size, and so on. ...
Dissonance and Resolution
... even more. So, working with these three notes above, I continued adding them to the original tritone and found that, with every increasing note, the dissonance was resolved. I concluded that, while each note added some dissonance to the chord, the consonant partials easily outnumbered the dissonant ...
... even more. So, working with these three notes above, I continued adding them to the original tritone and found that, with every increasing note, the dissonance was resolved. I concluded that, while each note added some dissonance to the chord, the consonant partials easily outnumbered the dissonant ...
• Melody = a succession of pitches at specific durations that begins
... a 'piece' = a musical composition which is played on instruments. ...
... a 'piece' = a musical composition which is played on instruments. ...
Presentation
... – e.g. the set of harmonics generated when a particular key is pressed on a piano ...
... – e.g. the set of harmonics generated when a particular key is pressed on a piano ...
Statistical analysis of a music database to investigate historical
... vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitches to the 12-tone chromatic scale, and used the Humdrum Toolkit (Huron) to count pitch patterns, labeling them as pitch-class sets (Forte). For simultaneous tones, we considered ...
... vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitches to the 12-tone chromatic scale, and used the Humdrum Toolkit (Huron) to count pitch patterns, labeling them as pitch-class sets (Forte). For simultaneous tones, we considered ...
Music 181: Inversions of Intervals, Compound Intervals
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
Impressionism - Mallaig High School Music Dept
... • In serial composition the tone row may be used in inverted form. This appears as a mirror image (in contrary motion). ...
... • In serial composition the tone row may be used in inverted form. This appears as a mirror image (in contrary motion). ...
Tippett - Concerto for Double String Orchestra movement I (Harmony)
... An interval is the distance (in scale steps) between two pitches. A harmonic interval occurs when two notes are played at the same time. ...
... An interval is the distance (in scale steps) between two pitches. A harmonic interval occurs when two notes are played at the same time. ...
Introduction to Music
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
Introduction to Music
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
... Music can be defined as _________________________. a. sounds produced by musical instruments b. sounds that are pleasing, as opposed to noise c. an art based on the organization of sounds in time d. a system of symbols that performers learn to read ...
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.