HOLY CROSS HIGH SCHOOL CHORAL 90, 10, 20, 30 MUSICAL
... Timbre: also known as tone color or tone quality, is the quality of a musical note or sound or tone that distinguishes different types of sound production. In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness. For i ...
... Timbre: also known as tone color or tone quality, is the quality of a musical note or sound or tone that distinguishes different types of sound production. In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness. For i ...
"Chinese Harmony" and Contemporary Non-Tonal Music
... Ou rightly claims that pentatonic tone-clusters are quite rare in pretwentieth-century Chinese music. Moreover, to conflate melodic and harmonic structure would seem to beg the question of whether harmony is a separate category from melody. (3) A strong bias in favour of minor seventh chords, e.g., ...
... Ou rightly claims that pentatonic tone-clusters are quite rare in pretwentieth-century Chinese music. Moreover, to conflate melodic and harmonic structure would seem to beg the question of whether harmony is a separate category from melody. (3) A strong bias in favour of minor seventh chords, e.g., ...
Why is Music Healing?
... of each cell as it reacted to the different sounds they produced. In the second group of experiments they used Kirlian photography in order to record the changes in the electromagnetic field of the cells as they received the sounds. (Kirlian photography shows the subtle energy field around living th ...
... of each cell as it reacted to the different sounds they produced. In the second group of experiments they used Kirlian photography in order to record the changes in the electromagnetic field of the cells as they received the sounds. (Kirlian photography shows the subtle energy field around living th ...
Hexatonic Experiments (watermarked)
... V. The Chromatic Mediant Experiment (with added tone) – This movement utilizes a scale of my own invention. The scale is derived from the juxtaposition of two chords which exhibit a chromatic mediant relationship (that is, their roots are a third apart and they have only one common tone) and an adde ...
... V. The Chromatic Mediant Experiment (with added tone) – This movement utilizes a scale of my own invention. The scale is derived from the juxtaposition of two chords which exhibit a chromatic mediant relationship (that is, their roots are a third apart and they have only one common tone) and an adde ...
Major (our most common scale)
... sound. Simply put, certain frequencies (resulting in an audible pitch) resonate clearer than other pitches. ...
... sound. Simply put, certain frequencies (resulting in an audible pitch) resonate clearer than other pitches. ...
Johann Pachelbel - Me llama Brittany
... 8:56: The music becomes more simplified as the violins and violas are playing the same notes in perfect harmony. The pizzicato continues in softer tones in the background. 9:26: The violins have ceased, allowing for the harp and keyboard instruments to take the spotlight. It sounds as though the str ...
... 8:56: The music becomes more simplified as the violins and violas are playing the same notes in perfect harmony. The pizzicato continues in softer tones in the background. 9:26: The violins have ceased, allowing for the harp and keyboard instruments to take the spotlight. It sounds as though the str ...
Analysis of ``Kol Nidrei
... beat of measure 31 is consonant, since all the notes played in the viola and piano are part of a C major chord (C, E, G). The downbeat of measure 32 contrasts with this by being dissonant. This dissonance occurs because the lowest notes in the piano line remain the same, C2 and C3, while the viola a ...
... beat of measure 31 is consonant, since all the notes played in the viola and piano are part of a C major chord (C, E, G). The downbeat of measure 32 contrasts with this by being dissonant. This dissonance occurs because the lowest notes in the piano line remain the same, C2 and C3, while the viola a ...
Band Introduction - Georgia Standards
... MHSBP.2 - Performing on instruments, alone and with others through a varied repertoire of music a. Demonstrate characteristic playing position, posture, fingering techniques, and hand and arm motion. b. Demonstrate proper warm-up techniques through playing at least one octave of all major scales, mi ...
... MHSBP.2 - Performing on instruments, alone and with others through a varied repertoire of music a. Demonstrate characteristic playing position, posture, fingering techniques, and hand and arm motion. b. Demonstrate proper warm-up techniques through playing at least one octave of all major scales, mi ...
Musical Scales and Tonality - University of Toronto Scarborough
... What is the psychological significant of tonal structure? • Psychological principle that certain perceptual and conceptual objects have special psychological status • Classic work by Rosch (1975) • Certain members in a group are normative, best example of category • Cognitive reference points for ju ...
... What is the psychological significant of tonal structure? • Psychological principle that certain perceptual and conceptual objects have special psychological status • Classic work by Rosch (1975) • Certain members in a group are normative, best example of category • Cognitive reference points for ju ...
Slightly Out of Tune: The Story of Musical Temperament
... The octave The first of these proportions, 2:1, produced the octave. The octave is the one inviolable proportion of all Western music. It is the one interval that is seen by everybody as the most natural. As Isacoff writes: “Though a leap separates them, the two dos sound so much alike, they share t ...
... The octave The first of these proportions, 2:1, produced the octave. The octave is the one inviolable proportion of all Western music. It is the one interval that is seen by everybody as the most natural. As Isacoff writes: “Though a leap separates them, the two dos sound so much alike, they share t ...
A PRACTICAL GLOSSARY for Twentieth
... atonality — the absence of tonality (not the absence of tones). Sometimes people use “atonal” to refer specifically to non-serial music, such as that written by Schoenberg between 1909 and 1923. axis of symmetry (also known as axis of inversion) — the pitch (or pitches) around which a composition (o ...
... atonality — the absence of tonality (not the absence of tones). Sometimes people use “atonal” to refer specifically to non-serial music, such as that written by Schoenberg between 1909 and 1923. axis of symmetry (also known as axis of inversion) — the pitch (or pitches) around which a composition (o ...
Hierarchical perception of melody
... could also be observed in the atonal melody. To further assess whether the results in fact indicate an effect due to hierarchical levels in the mental representation, the same method was used on a different set of melodies. Melodies used in experiment 2 were longer in order to reduce the possible in ...
... could also be observed in the atonal melody. To further assess whether the results in fact indicate an effect due to hierarchical levels in the mental representation, the same method was used on a different set of melodies. Melodies used in experiment 2 were longer in order to reduce the possible in ...
Page 1 of 8 NAHOO || Maths || The Relationship between
... 243/128. However, in actual fact this series does not conclude at the seventh tone, but leads on the more frequencies, condensing the scale into increasingly more notes in the octave range. There does not exist a finite number of positive integral of true fifths to an integer value of octaves as the ...
... 243/128. However, in actual fact this series does not conclude at the seventh tone, but leads on the more frequencies, condensing the scale into increasingly more notes in the octave range. There does not exist a finite number of positive integral of true fifths to an integer value of octaves as the ...
`Sing We At Pleasure` Thomas Weelkes
... Generally parts have different rhythms: o employing a freer homophonic style than in chordal or homorhythmic writing, as at the end of the first ‘fa-la’ o but more frequently in counterpoint. · Counterpoint commonly involves imitation, usually in sopranos 1 and 2 and/or tenor and bass. · The two sop ...
... Generally parts have different rhythms: o employing a freer homophonic style than in chordal or homorhythmic writing, as at the end of the first ‘fa-la’ o but more frequently in counterpoint. · Counterpoint commonly involves imitation, usually in sopranos 1 and 2 and/or tenor and bass. · The two sop ...
NCEA Level 1 Music (91094) 2011 Assessment Schedule
... bar 44, “the word ‘like’ anticipates the third beat”; bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as ...
... bar 44, “the word ‘like’ anticipates the third beat”; bass and kick drum, bar 43, “both instruments anticipate the third beat”. • Half-time feel – shows the effect, eg drums / all parts, bar 69, “the drums emphasise beats 1 and 3, instead of 1 and 2 as before, making the beat half as fast / twice as ...
VAN TECH MUSIC MUSIC THEORY LEARNING GUIDE Level IIA
... note or rest must reflect rhythmic accuracy by individuals so that different musicians performing different parts maintain strong rhythmic integrity. A: Note and Rest Values - Notes have relationships to each other in the same way as fractions. For example, eight “eighth” OR four “quarters” OR two “ ...
... note or rest must reflect rhythmic accuracy by individuals so that different musicians performing different parts maintain strong rhythmic integrity. A: Note and Rest Values - Notes have relationships to each other in the same way as fractions. For example, eight “eighth” OR four “quarters” OR two “ ...
Music as the art of misleading
... bass. This process of confusion continues in the fifth and sixth measures with a classical strategy of “surprise of the surprise”1. In only a few measures, Beethoven utilizes numerous tools of the tonal music of his time, which confound perceptions: shifting from major to minor, changing tonal funct ...
... bass. This process of confusion continues in the fifth and sixth measures with a classical strategy of “surprise of the surprise”1. In only a few measures, Beethoven utilizes numerous tools of the tonal music of his time, which confound perceptions: shifting from major to minor, changing tonal funct ...
The Syntax of Music
... • Scale: 7 tones (scale degrees) per octave with an asymmetric pa^ern of pitch spacing (intervals) between them. • The different tones take on different roles in the fabric of music, with one tone ...
... • Scale: 7 tones (scale degrees) per octave with an asymmetric pa^ern of pitch spacing (intervals) between them. • The different tones take on different roles in the fabric of music, with one tone ...
National Vocal Music Standards Grades 5
... b) arrange simple pieces for voices or instruments other than those for which the pieces were written c) use a variety of traditional and nontraditional sound sources and electronic media when composing and arranging 5. Content Standard: Reading and notating music Achievement Standard: a) read whole ...
... b) arrange simple pieces for voices or instruments other than those for which the pieces were written c) use a variety of traditional and nontraditional sound sources and electronic media when composing and arranging 5. Content Standard: Reading and notating music Achievement Standard: a) read whole ...
MUS 1110 Elementary Harmony
... Natural Use of Text and Ethnic Music Transcription of Ethnic Play Songs Fitting Text to Music; Breaking Syllables in A Word; Erasing Vowels in Adjacent Words Simple Score Arrangements for Ethnic Music Leader and Response Voice and Drums Appropriation of Clefs in Ethnic Music Transcript ...
... Natural Use of Text and Ethnic Music Transcription of Ethnic Play Songs Fitting Text to Music; Breaking Syllables in A Word; Erasing Vowels in Adjacent Words Simple Score Arrangements for Ethnic Music Leader and Response Voice and Drums Appropriation of Clefs in Ethnic Music Transcript ...
MUS 1110: Elementary Harmony, Counterpoint, and Ethnic Music
... Appropriation of Clefs in Ethnic Music Transcriptions ...
... Appropriation of Clefs in Ethnic Music Transcriptions ...
Traditional sub-Saharan African harmony
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).