The apparition from the forest
... also account for Sibelian types of Satz where there is no polarity between the topmost and lowermost parts, as is the case in the traditional Satz. In this fragment Sibelius also presents his view on harmonization for rune melodies. This establishes the principle of additive harmony. In additive har ...
... also account for Sibelian types of Satz where there is no polarity between the topmost and lowermost parts, as is the case in the traditional Satz. In this fragment Sibelius also presents his view on harmonization for rune melodies. This establishes the principle of additive harmony. In additive har ...
The Influence of Renaissance Music in Ernst Krenek`s Lamentatio
... Brumel, Palestrina, Tallis, and Victoria. Many of these settings achieved considerable fame and remain part of the standard repertoire for choirs even today. Krenek’s selection of this text is made remarkable by the dearth of such settings composed after 1600. After being set so frequently during t ...
... Brumel, Palestrina, Tallis, and Victoria. Many of these settings achieved considerable fame and remain part of the standard repertoire for choirs even today. Krenek’s selection of this text is made remarkable by the dearth of such settings composed after 1600. After being set so frequently during t ...
Nicola Vicentino and the Enharmonic Diesis
... was concerned with music as it could and should be, not with music as it was.7 The novelty of Vicentino‟s ideas extends beyond his theoretical treatment of the rules of counterpoint and voice-leading, the adaptation of ancient Greek genera to modern composition, and his 31-tone tuning system that ca ...
... was concerned with music as it could and should be, not with music as it was.7 The novelty of Vicentino‟s ideas extends beyond his theoretical treatment of the rules of counterpoint and voice-leading, the adaptation of ancient Greek genera to modern composition, and his 31-tone tuning system that ca ...
Sample Pages - Oxford University Press
... volume of Psychology of Tone (1890): two tones are perceived as a single entity; their degree of consonance, by Stumpf’s definition, depends on the integer ratios of their frequencies. In descending order, these intervals are: the octave (1:2), fifth (2:3), fourth (3:4), major third (4:5), and minor ...
... volume of Psychology of Tone (1890): two tones are perceived as a single entity; their degree of consonance, by Stumpf’s definition, depends on the integer ratios of their frequencies. In descending order, these intervals are: the octave (1:2), fifth (2:3), fourth (3:4), major third (4:5), and minor ...
scale networks and debussy
... 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 separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
... 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 separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
Chord Progressions
... The blues is a vocal and instrumental form of music based on a pentatonic scale and a characteristic twelve-bar chord progression. The form evolved in the United States in the communities of former African slaves from spirituals, praise songs, field hollers, shouts, and chants. The use of blue notes ...
... The blues is a vocal and instrumental form of music based on a pentatonic scale and a characteristic twelve-bar chord progression. The form evolved in the United States in the communities of former African slaves from spirituals, praise songs, field hollers, shouts, and chants. The use of blue notes ...
- University of Missouri School of Law Scholarship
... Mathematiciansare able to break down into measure andfigure what musicians do intuitively. The art of music is endowed with a supernaturalorigin and a divine purpose, more so than any other art. -GottfriedLeibniz Before embarking on a brief tour through superstring theory, it is helpful first to rev ...
... Mathematiciansare able to break down into measure andfigure what musicians do intuitively. The art of music is endowed with a supernaturalorigin and a divine purpose, more so than any other art. -GottfriedLeibniz Before embarking on a brief tour through superstring theory, it is helpful first to rev ...
What Is a CadenCe?
... all-encompassing definition. As Robert Gjerdingen polemically points out, a chordcentered definition of the cadence is dubious, as it “highlights only what Locatelli has in common with Rimsky-Korsakov.”6 This type of “lowest common denominator” approach adopted by many theorists may single out V–I a ...
... all-encompassing definition. As Robert Gjerdingen polemically points out, a chordcentered definition of the cadence is dubious, as it “highlights only what Locatelli has in common with Rimsky-Korsakov.”6 This type of “lowest common denominator” approach adopted by many theorists may single out V–I a ...
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 ...
Understanding Basic Music Theory
... and share if it is written down. Western music (Section 2.8) specializes in long, complex pieces for large groups of musicians singing or playing parts exactly as a composer intended. Without written music, this would be too dicult. Many dierent types of music notation have been invented, and ...
... and share if it is written down. Western music (Section 2.8) specializes in long, complex pieces for large groups of musicians singing or playing parts exactly as a composer intended. Without written music, this would be too dicult. Many dierent types of music notation have been invented, and ...
Understanding Temperaments
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
Intonation Variables in the Performance of Twelve
... 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 analysis of this writer’s observations in preparing a twelve-tone work for performance, in w ...
... 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 analysis of this writer’s observations in preparing a twelve-tone work for performance, in w ...
Recondite Harmony
... He played me various parts and he discussed the scoring with me; then, at one point, he shut the piano score and said: “But I’m tired, now, of writing these operas, in which three acts of chatter are needed in order to get to the catastrophe, for better or for worse.” These were his exact words: I r ...
... He played me various parts and he discussed the scoring with me; then, at one point, he shut the piano score and said: “But I’m tired, now, of writing these operas, in which three acts of chatter are needed in order to get to the catastrophe, for better or for worse.” These were his exact words: I r ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... it is that certain collections in the pitch domain have supported vast musical repertories, across cultures and historical eras. In these attempts, I have regarded the underlying pitch collections as the embodiments of certain relationships which composers, or perhaps even entire cultures, may come ...
... it is that certain collections in the pitch domain have supported vast musical repertories, across cultures and historical eras. In these attempts, I have regarded the underlying pitch collections as the embodiments of certain relationships which composers, or perhaps even entire cultures, may come ...
Stravinsky and the Octatonic: A Reconsideration
... the melodic minor scale as well as the octatonic. (Other “typically octatonic” collections, such as the 4-17[0347] tetrachord and the 6-27[013469] hexachord, belong to the harmonic minor scale.) Thus, widening our conception of Stravinsky’s scalar vocabulary prevents the easy inference from these sm ...
... the melodic minor scale as well as the octatonic. (Other “typically octatonic” collections, such as the 4-17[0347] tetrachord and the 6-27[013469] hexachord, belong to the harmonic minor scale.) Thus, widening our conception of Stravinsky’s scalar vocabulary prevents the easy inference from these sm ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
Pitch Notation
... wrote any music down. Some musicians still play "by ear" (without written music), and some music traditions rely more on improvisation and/or "by ear" learning. But written music is very useful, for many of the same reasons that written words are useful. music ...
... wrote any music down. Some musicians still play "by ear" (without written music), and some music traditions rely more on improvisation and/or "by ear" learning. But written music is very useful, for many of the same reasons that written words are useful. music ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... the book itself, but in an unpublished paper.8 One issue here is that it takes a significant amount of interpretation to extract a rigorous set of “counterpoint rules” from traditional pedagogical texts. For example, though neither Fux nor Jeppesen directly prohibits antiparallels, both prohibit uni ...
... the book itself, but in an unpublished paper.8 One issue here is that it takes a significant amount of interpretation to extract a rigorous set of “counterpoint rules” from traditional pedagogical texts. For example, though neither Fux nor Jeppesen directly prohibits antiparallels, both prohibit uni ...
Automatic Chord Detection in Polyphonic Audio Data
... simple and stable structures, and at the same time completely describe the harmonic properties of a piece of music. Thus musicians are able to accompany a melody solely by provided chord symbols. Another application of this thesis is automatic annotation of music. An annotated music database can the ...
... simple and stable structures, and at the same time completely describe the harmonic properties of a piece of music. Thus musicians are able to accompany a melody solely by provided chord symbols. Another application of this thesis is automatic annotation of music. An annotated music database can the ...
music-10th-edition-kamien-test-bank
... 12. If a pitch vibrates at 880 cycles, the octave below would vibrate at ____ cycles. A. 220 B. 440 C. 660 D. 1760 13. When two different tones blend so well when sounded together that they almost seem to merge into one tone, the interval is called a(n) A. dynamic accent. B. octave. C. pitch range. ...
... 12. If a pitch vibrates at 880 cycles, the octave below would vibrate at ____ cycles. A. 220 B. 440 C. 660 D. 1760 13. When two different tones blend so well when sounded together that they almost seem to merge into one tone, the interval is called a(n) A. dynamic accent. B. octave. C. pitch range. ...
Harmonic innovations in the piano works of Debussy and Ravel
... not a ppeared before are major triads in s ix-four position with added seconds, in Feuilles Mertes; dominant sevenths in four-three position with added seconds, in La Puerta del Vino; triads wit h perfect and augmented fifths, and dominant sevenths with added major sixths, in Les Fees Sont d'Exauise ...
... not a ppeared before are major triads in s ix-four position with added seconds, in Feuilles Mertes; dominant sevenths in four-three position with added seconds, in La Puerta del Vino; triads wit h perfect and augmented fifths, and dominant sevenths with added major sixths, in Les Fees Sont d'Exauise ...
Book 3 - Advanced
... difficult and demanding work but it can also be very enjoyable and personally rewarding as your knowledge and practical ability develop. A feature of this presentation is that students can progress through the theory or practical aspects of the work at a pace which is consistent with their particula ...
... difficult and demanding work but it can also be very enjoyable and personally rewarding as your knowledge and practical ability develop. A feature of this presentation is that students can progress through the theory or practical aspects of the work at a pace which is consistent with their particula ...
Debussy`s Corner of Paris 1908
... There is still another way of dividing the octave equally. It can be divided by minor 3rds. ...
... There is still another way of dividing the octave equally. It can be divided by minor 3rds. ...
Write like Mozart – lecture notes Table of Contents
... Phrygian half-cadences..................................................................................................................43 Perfect authentic cadences.............................................................................................................43 Deceptive cadences..... ...
... Phrygian half-cadences..................................................................................................................43 Perfect authentic cadences.............................................................................................................43 Deceptive cadences..... ...
Troubles with Tonal Terminology
... usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch snap, see Tagg (2011a). Neither Sub‐Saharan cross‐rhythm not the fluctuating to‐and ...
... usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch snap, see Tagg (2011a). Neither Sub‐Saharan cross‐rhythm not the fluctuating to‐and ...
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.