The Influence of Renaissance Music in Ernst Krenek`s Lamentatio
... order to preserve the form in translation, each line begins with a statement of the appropriate letter of the Hebrew alphabet followed by the translated text. The fifth poem contains no Hebrew letters because the original text is not alphabetical. Acrostic poems on serious subjects are rare and are ...
... order to preserve the form in translation, each line begins with a statement of the appropriate letter of the Hebrew alphabet followed by the translated text. The fifth poem contains no Hebrew letters because the original text is not alphabetical. Acrostic poems on serious subjects are rare and are ...
Microtones - Matt Swallow Saxophone
... B. Different forms of microtones integrated in other saxophone works 1. Some of the microtones have been used in different aspects of playing, therefore, makes this extended technique more significant. ...
... B. Different forms of microtones integrated in other saxophone works 1. Some of the microtones have been used in different aspects of playing, therefore, makes this extended technique more significant. ...
Intonation Variables in the Performance of Twelve
... temperament is considered in the light of findings that the intonation of string players and others tends to exhibit characteristics of Pythagorean tuning rather than of equal temperament. The nature of Pythagorean intonation with its enharmonic pitch distinctions (involving the Pythagorean comma) i ...
... temperament is considered in the light of findings that the intonation of string players and others tends to exhibit characteristics of Pythagorean tuning rather than of equal temperament. The nature of Pythagorean intonation with its enharmonic pitch distinctions (involving the Pythagorean comma) i ...
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. ...
On the Origins of Schoenberg`s Sprechgesang in Pierrot Lunaire
... More specifically, Schoenberg’s sprechgesang was indeed shown to have developed from the text: the syllable structure of the German language generated the rhythm, and the German speech intonation generated the melodic contour (Rapoport 2004). In the comparison and analysis carried out here (and in ...
... More specifically, Schoenberg’s sprechgesang was indeed shown to have developed from the text: the syllable structure of the German language generated the rhythm, and the German speech intonation generated the melodic contour (Rapoport 2004). In the comparison and analysis carried out here (and in ...
Chapter One Introduction to Quarter
... If we divide pitch space into equal-tempered quarter tones, we derive twenty-four pitches in each octave. Most composers use quarter tones as though they were extra pitches inserted into the middle of each of the familiar semitones, and therefore in many cases it is useful to think of the full set o ...
... If we divide pitch space into equal-tempered quarter tones, we derive twenty-four pitches in each octave. Most composers use quarter tones as though they were extra pitches inserted into the middle of each of the familiar semitones, and therefore in many cases it is useful to think of the full set o ...
Expanded tonality - Scholar Commons
... David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in o ...
... David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in o ...
Troubles with Tonal Terminology
... contains three differently named tones, chord numbers 3 and 8 are tetrads (four differently named tones) and number 9 is a pentad (five). So far, so good: chords 5, 6 and 7 are quartal triads, chord 8 a quartal tetrad and chord 9 a quartal pentad. The trouble starts ...
... contains three differently named tones, chord numbers 3 and 8 are tetrads (four differently named tones) and number 9 is a pentad (five). So far, so good: chords 5, 6 and 7 are quartal triads, chord 8 a quartal tetrad and chord 9 a quartal pentad. The trouble starts ...
The Line of Fifths
... similarity to the pitch variance rule, in that it prefers to spell events so that they are close together on the line of fifths (five steps being closer than seven). However, the pitch variance rule applies generally to all nearby pitches, not merely to those adjacent and a semitone apart, and it is ...
... similarity to the pitch variance rule, in that it prefers to spell events so that they are close together on the line of fifths (five steps being closer than seven). However, the pitch variance rule applies generally to all nearby pitches, not merely to those adjacent and a semitone apart, and it is ...
a multipitch approach to tonic identification in indian
... distance of 500 cents may also correspond to the distance between the Sa and upper Ma, which might be a cause for confusion in our system, and we will assess this when we analyse the results. Examining the rules of the tree, we see that the most important relationship is between the top two peaks of ...
... distance of 500 cents may also correspond to the distance between the Sa and upper Ma, which might be a cause for confusion in our system, and we will assess this when we analyse the results. Examining the rules of the tree, we see that the most important relationship is between the top two peaks of ...
The Motive - AState.edu
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
... * Frequently, tonal adjustments are made to inversion and other mirror forms in order for the tonal and harmonic requirements of music of the 18th and 19th centuries to be fulfilled. Tonal motivic transformations, where intervals are altered so that all notes are diatonic, are by far more frequent t ...
Mathemusical Thought - LUC Sakai
... 2. Our pitches are divided into white notes and black notes, depending on which piano key they correspond to. 3. A single step along our sequence, from one pitch to the very next pitch (to the left or right, whether black or white) is called a half step. A distance of two steps along our sequence i ...
... 2. Our pitches are divided into white notes and black notes, depending on which piano key they correspond to. 3. A single step along our sequence, from one pitch to the very next pitch (to the left or right, whether black or white) is called a half step. A distance of two steps along our sequence i ...
Twelve-note composition - Paul Ayick Vintage Brass
... assumed, the moment the series is used compositionally there are inevitable ambiguities. The presence of another structural attribute, in addition to that of serial order, is almost always implied: the partitioning of the series into segments. It has been shown (exx.4–6) how a set segmented into two ...
... assumed, the moment the series is used compositionally there are inevitable ambiguities. The presence of another structural attribute, in addition to that of serial order, is almost always implied: the partitioning of the series into segments. It has been shown (exx.4–6) how a set segmented into two ...
Timbre, Harmony, Orchestration, and Analysis, and Rautavaara`s
... While a perfectly legitimate question, this is also a dreadfully complicated one. The modern concept of timbre did not even emerge until the seventeenth century and did not enter common parlance until well into the eighteenth. Rousseau described it in Volume XV of the Encyclopédie1 as the difference ...
... While a perfectly legitimate question, this is also a dreadfully complicated one. The modern concept of timbre did not even emerge until the seventeenth century and did not enter common parlance until well into the eighteenth. Rousseau described it in Volume XV of the Encyclopédie1 as the difference ...
Relative Pitch and the Song of Black
... Music and Relative Pitch Relative pitch is the ability to produce or recognize a note based on a reference note. The ability to hum a simple tune when given a set note with which to start, as most people can, shows relative pitch in action. A sense of relative pitch is common among nonmusicians even ...
... Music and Relative Pitch Relative pitch is the ability to produce or recognize a note based on a reference note. The ability to hum a simple tune when given a set note with which to start, as most people can, shows relative pitch in action. A sense of relative pitch is common among nonmusicians even ...
Reverse Engineering the Sound of Jazz
... with a mouthpiece pitch of E b 5; each player played a E b 5 mouthpiece pitch but fingered and played the note A4 on the re-assembled saxophone. The end result was at least two recorded long tones per mouthpiece pitch per player. The resulting frequency spectra were calculated as in Section 2. For e ...
... with a mouthpiece pitch of E b 5; each player played a E b 5 mouthpiece pitch but fingered and played the note A4 on the re-assembled saxophone. The end result was at least two recorded long tones per mouthpiece pitch per player. The resulting frequency spectra were calculated as in Section 2. For e ...
The early development of music. Analysis of the Jiahu bone flutes
... generated some intriguing insights into the study of Jiahu music. Sixteen trials were performed and recorded on the first flute; while eight trials were done on the second flute after it was carefully repaired. The tonal analysis of these two flutes shows that they have quite similar musical charact ...
... generated some intriguing insights into the study of Jiahu music. Sixteen trials were performed and recorded on the first flute; while eight trials were done on the second flute after it was carefully repaired. The tonal analysis of these two flutes shows that they have quite similar musical charact ...
View printable PDF of 1.Appendix.1 Solfège
... Singing with scale degree (scale step) numbers from one to seven is another common system. Sometimes the number eight is used when the melody approaches the tonic from below. ...
... Singing with scale degree (scale step) numbers from one to seven is another common system. Sometimes the number eight is used when the melody approaches the tonic from below. ...
The perception of interleaved melodies
... extensive use of melodic fission during that period. But examples of interleaved melodies can be found in western music as early as 1325 (The Robertsbridge Fragment, Wooldridge, 1897-1913) and as recently as in the jazz of John Coltrane (Williams, 1967). Miller and Heise ( 1950) d escribed an effect ...
... extensive use of melodic fission during that period. But examples of interleaved melodies can be found in western music as early as 1325 (The Robertsbridge Fragment, Wooldridge, 1897-1913) and as recently as in the jazz of John Coltrane (Williams, 1967). Miller and Heise ( 1950) d escribed an effect ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... for specifically built microtonal instruments such as his Suites and Fantasies for quarter-tone piano (a quarter-tone grand piano based on Hába´s and Wyschnegradsky´s concepts was built by both Grotrian-Steinweg [two manuals] and August Förster [three manuals] and presented to the public in 1924)64 ...
... for specifically built microtonal instruments such as his Suites and Fantasies for quarter-tone piano (a quarter-tone grand piano based on Hába´s and Wyschnegradsky´s concepts was built by both Grotrian-Steinweg [two manuals] and August Förster [three manuals] and presented to the public in 1924)64 ...
Notes - Stanford University
... Accompanying these pictures are graphs of the air pressure at each point in space, where we shift our units so that the horizontal axis indicates normal atmospheric air pressure without the perturbation of sound. The shape of the functions in these graphs is called the waveform. We have drawn the wa ...
... Accompanying these pictures are graphs of the air pressure at each point in space, where we shift our units so that the horizontal axis indicates normal atmospheric air pressure without the perturbation of sound. The shape of the functions in these graphs is called the waveform. We have drawn the wa ...
urn_nbn_fi_jyu-20
... material). Intrinsically chromatic modes may contain different numbers of pcs in an octave (usually 5-9 pcs) and they can be symmetrical (having one or more symmetry axes, thus having limited transpositions 2 ) or asymmetrical (having all 12 transpositions). The most common symmetrical modes are the ...
... material). Intrinsically chromatic modes may contain different numbers of pcs in an octave (usually 5-9 pcs) and they can be symmetrical (having one or more symmetry axes, thus having limited transpositions 2 ) or asymmetrical (having all 12 transpositions). The most common symmetrical modes are the ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... Indeed, they are hierarchically less important than the surrounding consonance, merely serving to connect them more smoothly. What emerges here is a second hierarchical principle: the relationship between consonance and dissonance. By learning how to write two-to-one counterpoint examples, we becom ...
... Indeed, they are hierarchically less important than the surrounding consonance, merely serving to connect them more smoothly. What emerges here is a second hierarchical principle: the relationship between consonance and dissonance. By learning how to write two-to-one counterpoint examples, we becom ...