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Rainbow Solfege
... Educational uses of this system are particularly developmentally appropriate for preschool and early elementary aged children. Research has shown that for children from newborns to age seven recognition of color is an intuitive process. Children asked to select various shapes in a variety of colors ...
... Educational uses of this system are particularly developmentally appropriate for preschool and early elementary aged children. Research has shown that for children from newborns to age seven recognition of color is an intuitive process. Children asked to select various shapes in a variety of colors ...
Improvisation: Performer as co-composer
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
Simple Music Semiotic Analysis
... synaesthetic (adj.): relating to any type of perception using more than one of the five senses simultaneously ...
... synaesthetic (adj.): relating to any type of perception using more than one of the five senses simultaneously ...
Contents
... reflect the new area of study, music of the 20 and 21 centuries. Both compositions must be based on a different commission as outlined on page 24 of the specification. Candidates are required to complete a form outlining the process of composition, as in the current specification. In addition, they ...
... reflect the new area of study, music of the 20 and 21 centuries. Both compositions must be based on a different commission as outlined on page 24 of the specification. Candidates are required to complete a form outlining the process of composition, as in the current specification. In addition, they ...
Three Conceptions of Musical Distance
... discrete lattices that represent voice-leading relationships among familiar diatonic or chromatic chords. For example, Figure 4 records the most efficient voice leadings among diatonic fifths—which can be represented using an irregular, one-dimensional zig-zag near the center of the Möbius strip T2/ ...
... discrete lattices that represent voice-leading relationships among familiar diatonic or chromatic chords. For example, Figure 4 records the most efficient voice leadings among diatonic fifths—which can be represented using an irregular, one-dimensional zig-zag near the center of the Möbius strip T2/ ...
Serialism in the Works of Charles Ives
... musical facts, understates the case, and leaves a vaguely derogatory impression of dilettantism. Ives accomplished more than merely experimenting with new techniques. He understood and assimilated the far-reaching implications of his innovations, saw their limitations and shortcomings, developed fro ...
... musical facts, understates the case, and leaves a vaguely derogatory impression of dilettantism. Ives accomplished more than merely experimenting with new techniques. He understood and assimilated the far-reaching implications of his innovations, saw their limitations and shortcomings, developed fro ...
MUSIC THEORY BASIC Jonathan Harnum HOW TO READ, WRITE, AND
... andante (It): “Going.” A moderate tempo between allegretto and adagio. andantino (It): Originally a tempo a little slower than andante, but now indicates a tempo a bit faster than andante. animato, animoso (It): Animated, energetic or spirited. anticipation: Nonharmonic note or notes played before t ...
... andante (It): “Going.” A moderate tempo between allegretto and adagio. andantino (It): Originally a tempo a little slower than andante, but now indicates a tempo a bit faster than andante. animato, animoso (It): Animated, energetic or spirited. anticipation: Nonharmonic note or notes played before t ...
Frequency
... intervals to convey musical direction or movement. These perceptions are purely subjective and depend on the musical ...
... intervals to convey musical direction or movement. These perceptions are purely subjective and depend on the musical ...
Singa Nebah: Adapting a Javanese Gamelan Composition for a
... regarded as the standard for performance practice and their influence spreads outwards geographically. In general, Solo is known for its soft style of playing, while Yogya is known for its loud style. The two traditions certainly share a great deal, however there are certain aspects which vary great ...
... regarded as the standard for performance practice and their influence spreads outwards geographically. In general, Solo is known for its soft style of playing, while Yogya is known for its loud style. The two traditions certainly share a great deal, however there are certain aspects which vary great ...
the schenkerian analysis in the modern context of the
... However, this kind of sustained musical flow is not characteristic of all music. Even when dealing with this absolute music, there are some problems in the application of this theory. It focuses on harmony and voice leading at a large level and considers any other musical parameters of musical form ...
... However, this kind of sustained musical flow is not characteristic of all music. Even when dealing with this absolute music, there are some problems in the application of this theory. It focuses on harmony and voice leading at a large level and considers any other musical parameters of musical form ...
Music (504) - National Evaluation Series
... This NES Profile provides information about the test, including the approximate percentage of the total test score derived from each content domain. The complete set of the content domains, the test framework, is provided here and contains all of the competencies and descriptive statements that defi ...
... This NES Profile provides information about the test, including the approximate percentage of the total test score derived from each content domain. The complete set of the content domains, the test framework, is provided here and contains all of the competencies and descriptive statements that defi ...
Fine Arts - Charis Smith`s E
... First version written in 1831, during early years in Vienna Final version not finished until 1835 or 1836 Reflection of Chopin's loneliness and longing for family Inspired by the poem, Konrad Wallerod Different structure than other ballads ...
... First version written in 1831, during early years in Vienna Final version not finished until 1835 or 1836 Reflection of Chopin's loneliness and longing for family Inspired by the poem, Konrad Wallerod Different structure than other ballads ...
ap® music theory 2015 scoring guidelines
... (d) Tonally inappropriate six-four chord (N.B.: Cadential six-fours, passing six-fours, and pedal six-fours are allowed). (e) Unresolved sevenths or incorrectly resolved sevenths. (f) Other note-against-note dissonances (including fourths) that are not treated correctly, including Roman numerals (an ...
... (d) Tonally inappropriate six-four chord (N.B.: Cadential six-fours, passing six-fours, and pedal six-fours are allowed). (e) Unresolved sevenths or incorrectly resolved sevenths. (f) Other note-against-note dissonances (including fourths) that are not treated correctly, including Roman numerals (an ...
Sofia Gubaidulina: Dualism in String Quartets
... forming melodic lines, and vertical elements as simultaneous sounds, or ‘any simultaneity’ sound events which may form vertical chord-structures rather than harmonies. In the first section, distinct linear (horizontal) melodic identities, such as a drone and melodic motive, are introduced in each pa ...
... forming melodic lines, and vertical elements as simultaneous sounds, or ‘any simultaneity’ sound events which may form vertical chord-structures rather than harmonies. In the first section, distinct linear (horizontal) melodic identities, such as a drone and melodic motive, are introduced in each pa ...
Chromaticism II: Tonicization/Modulation
... III. Clarification: Chord, Tonality, and Key Area, Tonal Region A possible terminological confusion arises with the use of Roman numerals, which can refer to specific, individual chords, or to regions within a key. Furthermore, the terms "tonal region" and "key area" are used interchangeably, and ca ...
... III. Clarification: Chord, Tonality, and Key Area, Tonal Region A possible terminological confusion arises with the use of Roman numerals, which can refer to specific, individual chords, or to regions within a key. Furthermore, the terms "tonal region" and "key area" are used interchangeably, and ca ...
ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP
... plainsong, modality, pentatonicism, wayward contours, and the use of the whole-tone scale. With respect to harmony in these works, one notices a raised level of importance compared to the element of melody. The intensification of harmonic interest is evident in modality, non-functional chord success ...
... plainsong, modality, pentatonicism, wayward contours, and the use of the whole-tone scale. With respect to harmony in these works, one notices a raised level of importance compared to the element of melody. The intensification of harmonic interest is evident in modality, non-functional chord success ...
Stream Segregation and Perceived Syncopation
... properties” (313). With this definition, Schachter is referring to the rhythmic patterns that can be created by tonal (or pitchrelated) elements such as “the recurrence of a tone after one or more different ones, the octave relationship, chordal and linear associations, consonance and dissonance” (3 ...
... properties” (313). With this definition, Schachter is referring to the rhythmic patterns that can be created by tonal (or pitchrelated) elements such as “the recurrence of a tone after one or more different ones, the octave relationship, chordal and linear associations, consonance and dissonance” (3 ...
324KB - NZQA
... (iii) Identify TWO different notes in the vocal part which are not in this scale. For each, state: ...
... (iii) Identify TWO different notes in the vocal part which are not in this scale. For each, state: ...
Other Chords of the Major Key
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
Semantic manual - Semantic Daniélou
... After opening the UVI Workstation, select in the menu "Search" > "Instruments" (or wherever you will have placed it) the instrument "Semantic Danielou-53", by double-click to load the program. Click on any key of the keyboards "Hex" (at the top) or "Hal" (below) to check the sound output and adjust ...
... After opening the UVI Workstation, select in the menu "Search" > "Instruments" (or wherever you will have placed it) the instrument "Semantic Danielou-53", by double-click to load the program. Click on any key of the keyboards "Hex" (at the top) or "Hal" (below) to check the sound output and adjust ...
CHAPTER 1 TONAL MODULATION WITH JUST
... In Table 1.1, the equal tempered intervals identified by their common musical names appear on the left, and their justly tuned Monophonic equivalents appear on the right. Cents (rounded off to the nearest tenth of a cent in the case of the Monophonic intervals) are used for both equal tempered inte ...
... In Table 1.1, the equal tempered intervals identified by their common musical names appear on the left, and their justly tuned Monophonic equivalents appear on the right. Cents (rounded off to the nearest tenth of a cent in the case of the Monophonic intervals) are used for both equal tempered inte ...
RECITAL and CONCERTO IN PIANO BY HANDEL, BEETHOVEN
... first phrase (mm. 1-4) is very powerful: the first beats are block chords, and the third beats are short, passing phrases following a rest. The second phrase includes a downward scale in dotted rhythm and finishes with a perfect cadence. The theme resembles an overture. In Variation One, which reta ...
... first phrase (mm. 1-4) is very powerful: the first beats are block chords, and the third beats are short, passing phrases following a rest. The second phrase includes a downward scale in dotted rhythm and finishes with a perfect cadence. The theme resembles an overture. In Variation One, which reta ...
On 6 Pieces op. 118
... idea of struggle and the emotion of victory in Beethoven, or on the deep sense of pain and sorrow in Schubert, or on the sense of a divine glory of nature in Bruckner, etc. Very often such sayings seem superficial, simplistic, subjective and not particularly insightful. But sometimes they seem apt, ...
... idea of struggle and the emotion of victory in Beethoven, or on the deep sense of pain and sorrow in Schubert, or on the sense of a divine glory of nature in Bruckner, etc. Very often such sayings seem superficial, simplistic, subjective and not particularly insightful. But sometimes they seem apt, ...
Traditional sub-Saharan African harmony
![](https://commons.wikimedia.org/wiki/Special:FilePath/A_pentatonic_scale_in_descending_order.jpg?width=300)
Sub-Saharan harmony is based on the principles of homophonic parallelism (similar chords changing simultaneously), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the ""span process"", ""pedal notes"" (a held note, typically in the bass, around which other parts move), ""Rhythmic harmony"", ""harmony by imitation"", and ""scalar clusters"" (see below for explanation of these terms).