Musicology Today
... The pitch-class set theory Created by Allen Forte – based on mathematical analysis applied to dodecaphonic music by composer Milton Babbitt in the 1960s (see Babbitt 1960, 1961) – the pitch-class set theory introduces algebraic formalization in investigating the pitch structure coherence of the work ...
... The pitch-class set theory Created by Allen Forte – based on mathematical analysis applied to dodecaphonic music by composer Milton Babbitt in the 1960s (see Babbitt 1960, 1961) – the pitch-class set theory introduces algebraic formalization in investigating the pitch structure coherence of the work ...
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... “full” background. Unlike Partch, who detested music education as a whole, Johnston prepared himself for a very typical career as a well-rounded composer and professor of composition and theory. His works were largely composed in a neo-classical in style for around 10 years, with a brief period wher ...
... “full” background. Unlike Partch, who detested music education as a whole, Johnston prepared himself for a very typical career as a well-rounded composer and professor of composition and theory. His works were largely composed in a neo-classical in style for around 10 years, with a brief period wher ...
On Tonal Dynamics and Musical Meaning - Signata
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
Tonal Atonality: An Analysis of Samuel Barber`s
... technique by taking each of the 12 notes in an octave and arranging them into a set called a “tone row” in which each note appears only once (Griffiths). To make arranging the notes easier, he used a number system instead of note names. The English equivalent of this numbering system (wherein 0 is C ...
... technique by taking each of the 12 notes in an octave and arranging them into a set called a “tone row” in which each note appears only once (Griffiths). To make arranging the notes easier, he used a number system instead of note names. The English equivalent of this numbering system (wherein 0 is C ...
Raaga Identification using Clustering Algorithm
... Swara pairs are of the same frequency: 1. Chathushruthi Rishabha and Shudhdha Gaandhara 2. Shatshruthi Rishabha and Saadhaarana Gaandhaara 3. Shudhdha Nishada and Chathushruthi Daivatha, and 4. Shatshruthi Daivatha and Kaishiki Nishada Since the above mentioned pairs of Swaras lie on the same freque ...
... Swara pairs are of the same frequency: 1. Chathushruthi Rishabha and Shudhdha Gaandhara 2. Shatshruthi Rishabha and Saadhaarana Gaandhaara 3. Shudhdha Nishada and Chathushruthi Daivatha, and 4. Shatshruthi Daivatha and Kaishiki Nishada Since the above mentioned pairs of Swaras lie on the same freque ...
Chopin
... striking that the integrative pitch axes are emphasized by all possible means exactly as in the Nocturne, Op. 27, No. 1. Therefore, one may safely assume that the connections indicated above do not result from a coincidence. Indeed, Chopin's Opus 27 marks the peak of structural coherence in the genr ...
... striking that the integrative pitch axes are emphasized by all possible means exactly as in the Nocturne, Op. 27, No. 1. Therefore, one may safely assume that the connections indicated above do not result from a coincidence. Indeed, Chopin's Opus 27 marks the peak of structural coherence in the genr ...
A Primer for Atonal Set Theory
... ways. If we call it a +21, we have describedit veryspecifically,conveyingboth the size of the intervaland its direction.If we call it a 21, we express only its size. If we call it a 9, we have reduced a compound intervalto its simple equivalent.If we call it a 3, we have expressed the intervalin its ...
... ways. If we call it a +21, we have describedit veryspecifically,conveyingboth the size of the intervaland its direction.If we call it a 21, we express only its size. If we call it a 9, we have reduced a compound intervalto its simple equivalent.If we call it a 3, we have expressed the intervalin its ...
Music, Cognition, and Computerized Sound: Chap14
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
Psychology and Music - Diana Deutsch
... The relationship between psychology and music is characteristic of that between a new science and an established discipline. Western music theory has a very old tradition, dating at least from the time of Pythagoras; and the philosophical underpinnings of this tradition that were established in anci ...
... The relationship between psychology and music is characteristic of that between a new science and an established discipline. Western music theory has a very old tradition, dating at least from the time of Pythagoras; and the philosophical underpinnings of this tradition that were established in anci ...
search-effectiveness measures for symbolic music queries
... faulty recollection and that gross-contour searches often produce an excessive number of prospective matches. We have come to believe that scale-degree searches are overall the most robust for searching for tonal music incipits. Scale-degree searches tie for the most-used search type on Themefinder, ...
... faulty recollection and that gross-contour searches often produce an excessive number of prospective matches. We have come to believe that scale-degree searches are overall the most robust for searching for tonal music incipits. Scale-degree searches tie for the most-used search type on Themefinder, ...
The demise of number ratios in music theory
... Many music theorists and psychologists assume a direct link between musical intervals and number ratios. But Pythagorean ratios (M3=61:84) involve implausibly large numbers, and just-tuned music (M3=4:5) only works if scale steps shift from one sonority to the next. We know of no empirical evidence ...
... Many music theorists and psychologists assume a direct link between musical intervals and number ratios. But Pythagorean ratios (M3=61:84) involve implausibly large numbers, and just-tuned music (M3=4:5) only works if scale steps shift from one sonority to the next. We know of no empirical evidence ...
Japanese shakuhachi Honkyoku: its characteristics and
... • Many possible tone-quality, ne-iro or timbre descriptions its important in shakuhachi music • Shakuhachi can produce many different qualities of tone the possible use of timbre to structure the melody. • The meri and kari tones changes in timbre due to simultaneous changes in pitch and dynami ...
... • Many possible tone-quality, ne-iro or timbre descriptions its important in shakuhachi music • Shakuhachi can produce many different qualities of tone the possible use of timbre to structure the melody. • The meri and kari tones changes in timbre due to simultaneous changes in pitch and dynami ...
A Psychophysical Explanation for Why Major Chords are “Bright
... dominance and strength. From that core meaning concerning social status, the psychological affect of these harmonies can be summarized (in first approximation) as “sad” and “happy”. It is of course true that all pitch changes in both music and language are highly context-dependent and therefore mean ...
... dominance and strength. From that core meaning concerning social status, the psychological affect of these harmonies can be summarized (in first approximation) as “sad” and “happy”. It is of course true that all pitch changes in both music and language are highly context-dependent and therefore mean ...
Composing In the Flesh: Perceptually
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
Using the Shape of Music to Compute the Similarity
... Due to the nature of the information treated in Music Information Retrieval (MIR) [9], there are some requirements that have to be considered from the very beginning when devising a retrieval system. Byrd and Crawford [10] identified some requirements that they consider every MIR system should meet, ...
... Due to the nature of the information treated in Music Information Retrieval (MIR) [9], there are some requirements that have to be considered from the very beginning when devising a retrieval system. Byrd and Crawford [10] identified some requirements that they consider every MIR system should meet, ...
Octave - Philip Tagg
... 1. OCTAVE AS UNISON. 2. OCTAVE PITCH DESIGNATION. 3 OCTAVE LEAPS. 1. OCTAVE AS UNISON. All known music traditions tend to treat two pitches an octave apart as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch cont ...
... 1. OCTAVE AS UNISON. 2. OCTAVE PITCH DESIGNATION. 3 OCTAVE LEAPS. 1. OCTAVE AS UNISON. All known music traditions tend to treat two pitches an octave apart as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch cont ...
Comparison of Interval Size in Equal Temperament and Just Tuning
... For example: to play a Just tuned major third above C, look in the Difference column to see that the (E) of this major third needs to be played 14 cents lower than the equal tempered interval indicated when the tuner indicator is centered. ...
... For example: to play a Just tuned major third above C, look in the Difference column to see that the (E) of this major third needs to be played 14 cents lower than the equal tempered interval indicated when the tuner indicator is centered. ...
Absolute pitch correlates with high performance on
... many musicians seek to develop this skill. Recently, advantages of AP possession have been demonstrated in psychoacoustic tasks involving pitch perception, e.g., in identifying extremely short (5 ms) pure tones or complex tones with missing fundamentals (Hsieh and Saberi, 2007, 2008a, 2009). In addi ...
... many musicians seek to develop this skill. Recently, advantages of AP possession have been demonstrated in psychoacoustic tasks involving pitch perception, e.g., in identifying extremely short (5 ms) pure tones or complex tones with missing fundamentals (Hsieh and Saberi, 2007, 2008a, 2009). In addi ...
Cyclical Structures and the Organisation of Time Bryn Harrison
... and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five ...
... and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five ...
Whole tone scale
... Other Applications This is a very strange application of the whole tone scale and is not for the weak of heart.You can play it on minor chords a half step down, so in the example below, a B whole tone scale over a Cmin7 chord. But be warned, you have to have faith and be brave to make this work. It ...
... Other Applications This is a very strange application of the whole tone scale and is not for the weak of heart.You can play it on minor chords a half step down, so in the example below, a B whole tone scale over a Cmin7 chord. But be warned, you have to have faith and be brave to make this work. It ...
Qualia as intervening variables in the understanding of music cognition
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
class9#
... Ab and G# are not part of C, so they will point to some other scale and behave according to there function in that context. Another possibility: In a CHROMATHIC PASSAGE, the chromatic not assigned any harmonic function. In that case, an upward is indicated by an uplifting alteration -- #, and a down ...
... Ab and G# are not part of C, so they will point to some other scale and behave according to there function in that context. Another possibility: In a CHROMATHIC PASSAGE, the chromatic not assigned any harmonic function. In that case, an upward is indicated by an uplifting alteration -- #, and a down ...
VOCALOID – Commercial singing synthesizer based on sample
... are recorded in different pitches and different phonetic contexts, i.e. the pitch must be converted to a desired one, and the timbre must be “smoothed” around the junction of samples. In the synthesis engine, the pitch conversion and the timbre manipulation are done in frequency domain. The pitch co ...
... are recorded in different pitches and different phonetic contexts, i.e. the pitch must be converted to a desired one, and the timbre must be “smoothed” around the junction of samples. In the synthesis engine, the pitch conversion and the timbre manipulation are done in frequency domain. The pitch co ...
Compositional trajectories [Medieval music]
... begin, let us take the approaches just suggested for reading the tonal language of a melody and put them to work on two medieval plainchants. One, Exsurge domine, is Gregorian, thus a Roman chant of ca 700 preserved in a Frankish melodic dialect of ca 800, and the other, In principio, is later medie ...
... begin, let us take the approaches just suggested for reading the tonal language of a melody and put them to work on two medieval plainchants. One, Exsurge domine, is Gregorian, thus a Roman chant of ca 700 preserved in a Frankish melodic dialect of ca 800, and the other, In principio, is later medie ...
Movable do solfège
... Movable do is frequently employed in Australia, China and Japan (with 7th being si), Ireland, the United Kingdom, the United States, Hong Kong and English-speaking Canada (although a few American conservatories use French-style fixed do). In the movable do system, each solfège syllable corresponds n ...
... Movable do is frequently employed in Australia, China and Japan (with 7th being si), Ireland, the United Kingdom, the United States, Hong Kong and English-speaking Canada (although a few American conservatories use French-style fixed do). In the movable do system, each solfège syllable corresponds n ...