Giorgio Sanguinetti, The Art of Partimento
... On the contrary, I think that in essence they are so closely related that much of the material in The Art of Partimento can be used in continuo accompaniment as well, both in terms of harmony and of texture. I will illustrate this point with examples that demonstrate how partimento techniques had be ...
... On the contrary, I think that in essence they are so closely related that much of the material in The Art of Partimento can be used in continuo accompaniment as well, both in terms of harmony and of texture. I will illustrate this point with examples that demonstrate how partimento techniques had be ...
Twelve-note composition - Paul Ayick Vintage Brass
... only Webern, beginning with op.19, unambiguously observed this principle. It is completely inconsistent with Berg’s practice, even within any single movement. Schoenberg’s implied definition of a ‘series’ does not include cyclical permutations as representations of a given series, but Berg made use ...
... only Webern, beginning with op.19, unambiguously observed this principle. It is completely inconsistent with Berg’s practice, even within any single movement. Schoenberg’s implied definition of a ‘series’ does not include cyclical permutations as representations of a given series, but Berg made use ...
pdf - Santa Fe Institute
... Repetition of an interval set at some fixed interval, or modulus, is common, if not universal, and is related to having a fixed set of pitches. Both music theory and cognition often distinguish between pitch height and pitch chroma [Shepard 1964; 1982], the latter usually referring to pitches whose ...
... Repetition of an interval set at some fixed interval, or modulus, is common, if not universal, and is related to having a fixed set of pitches. Both music theory and cognition often distinguish between pitch height and pitch chroma [Shepard 1964; 1982], the latter usually referring to pitches whose ...
What Is a CadenCe?
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
At The Cutting Edge: Three American Theorists at The End of The
... ignored for these reasons. Vincent's tonal system, based on symmetrical major- and minor-third divisions of the octave, and his description of symmetrical inversion, using nine as the sum of inversion, were too idiosyncratic and abstractly logical to be used by the theoretical establishment at that ...
... ignored for these reasons. Vincent's tonal system, based on symmetrical major- and minor-third divisions of the octave, and his description of symmetrical inversion, using nine as the sum of inversion, were too idiosyncratic and abstractly logical to be used by the theoretical establishment at that ...
Concert Choir
... vowel formation affect intonation. Demonstrate how accurate blend and balance between the sections produce a proper harmonic sound. ...
... vowel formation affect intonation. Demonstrate how accurate blend and balance between the sections produce a proper harmonic sound. ...
CMJ Wilkie Language Music Interaction Design_v2
... treatise Systematic Study of Modulation as a Foundation for the Study of Musical Form identifies the use of the image schemas CONTAINER and SOURCE-PATH-GOAL in Riemann’s descriptions of harmonic progressions, modulations and movement along a PATH from one key CONTAINER to another. Furthermore, Sasla ...
... treatise Systematic Study of Modulation as a Foundation for the Study of Musical Form identifies the use of the image schemas CONTAINER and SOURCE-PATH-GOAL in Riemann’s descriptions of harmonic progressions, modulations and movement along a PATH from one key CONTAINER to another. Furthermore, Sasla ...
scales and key signatures edition a subcourse overview
... specified interval scheme. An interval is the difference in pitch between tones. Music depends on the succession of pitches and certain measurable patterns of intervals used with regularity. These patterns may be extracted from musical examples, arranged in order, and expressed as scales. The basic ...
... specified interval scheme. An interval is the difference in pitch between tones. Music depends on the succession of pitches and certain measurable patterns of intervals used with regularity. These patterns may be extracted from musical examples, arranged in order, and expressed as scales. The basic ...
crystallization of the sonata form in frederic chopin`s vision
... they composed for one or two musical instruments was shaped into sonata, the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt ...
... they composed for one or two musical instruments was shaped into sonata, the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt ...
Chapter 3: Alto Clef
... first let us look at what music is defined as. Music is the art of creating a harmonic sound through the use of different rhythms, pitches and tones. The use of music can cause an emotional response from the audience but its purpose is to express one’s emotions. In this manual you will find the basi ...
... first let us look at what music is defined as. Music is the art of creating a harmonic sound through the use of different rhythms, pitches and tones. The use of music can cause an emotional response from the audience but its purpose is to express one’s emotions. In this manual you will find the basi ...
file here.
... A, B, C, D, E, F, G (and if you’re German there’s a ‘H’ that you use for B natural; the ‘B’ in Germany is what we call a ‘B flat’). As you look at that series wouldn’t it be reasonable to think that since these are all regular letter names (meaning that there’s nothing here like a ‘B plus x’ or an ‘ ...
... A, B, C, D, E, F, G (and if you’re German there’s a ‘H’ that you use for B natural; the ‘B’ in Germany is what we call a ‘B flat’). As you look at that series wouldn’t it be reasonable to think that since these are all regular letter names (meaning that there’s nothing here like a ‘B plus x’ or an ‘ ...
MTO 15.2: Brown, Axis Tonality
... one that includes multiple transpositions of the original axis and that extends the axis to form longer chains of thirds. The axis therefore serves not merely as a tonal scaffold for the piece, but also as an initial seed spawning a more elaborate structure. [11] Before exploring this structure, le ...
... one that includes multiple transpositions of the original axis and that extends the axis to form longer chains of thirds. The axis therefore serves not merely as a tonal scaffold for the piece, but also as an initial seed spawning a more elaborate structure. [11] Before exploring this structure, le ...
Ancient Greek Music: A Technical History by Stefan Hagel
... μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘modulation’. (Needless to say, ‘modulation’ would be an apt translation of «μεταβολή» in the other three senses, as well.) If we try to ge ...
... μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘modulation’. (Needless to say, ‘modulation’ would be an apt translation of «μεταβολή» in the other three senses, as well.) If we try to ge ...
Using bagpipe.tex
... further effect. Other white space will insert a space and some “glue” in the document. Because Musi(c|x)TeX does not know about this space, any pending beams or slurs will be messed up. Therefore it is best, within the music, to avoid all white space that is not needed to terminate a macro name. To ...
... further effect. Other white space will insert a space and some “glue” in the document. Because Musi(c|x)TeX does not know about this space, any pending beams or slurs will be messed up. Therefore it is best, within the music, to avoid all white space that is not needed to terminate a macro name. To ...
Tuning Continua and Keyboard Layouts - Computer
... all members of a tuning continuum). As shown in [1], these together require the keyboard to have dimension p − n. This section generalises these ideas by formally defining consistent fingering of a set of intervals over the valid tuning range where the fingering of intervals on the keyboard remains ...
... all members of a tuning continuum). As shown in [1], these together require the keyboard to have dimension p − n. This section generalises these ideas by formally defining consistent fingering of a set of intervals over the valid tuning range where the fingering of intervals on the keyboard remains ...
Problemset Title Chapter Quiz Introductory Text Question 1 Type
... Music is a culture-specific system of communication. ...
... Music is a culture-specific system of communication. ...
learning absolute pitch by children:a cross-sectional study
... keys, sequential/intervallic patterning, and children’s vocal ranges so that children can practice to sing the melodies in steady tempo and correct pitch. Children memorize about 20 melodies of 12 to 16 measures long (approximately 2/3 of them are in C major or A minor, and the others are in keys wi ...
... keys, sequential/intervallic patterning, and children’s vocal ranges so that children can practice to sing the melodies in steady tempo and correct pitch. Children memorize about 20 melodies of 12 to 16 measures long (approximately 2/3 of them are in C major or A minor, and the others are in keys wi ...
Pavane `The image of melancholy` and Galliard `Ecce quam bonum
... The texture is clearly layered in the sense that in each piece each part has its separate range, and there is little crossing of parts. (The ranges are different in the two pieces, those of the Galliard being somewhat higher). The second section of the Galliard is homophonic (and more clearly ‘dance ...
... The texture is clearly layered in the sense that in each piece each part has its separate range, and there is little crossing of parts. (The ranges are different in the two pieces, those of the Galliard being somewhat higher). The second section of the Galliard is homophonic (and more clearly ‘dance ...
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 ...
Formant Frequency Tuning in Professional Byzantine Chanters
... harmonics, thereby amplifying certain portions of the vocal spectrum, is known as formant tuning [3]. This intuitive act, that is highly dependent upon the vertical laryngeal positions, has been used from trained singers in the past, in cases where the singing voice should be heard across large spac ...
... harmonics, thereby amplifying certain portions of the vocal spectrum, is known as formant tuning [3]. This intuitive act, that is highly dependent upon the vertical laryngeal positions, has been used from trained singers in the past, in cases where the singing voice should be heard across large spac ...
The Blues in Wes Montgomery`s Compositional and Improvisational
... response pattern in which the response is almost identical to the call. The only inconsistency is the rhythmic displacement and double stops at the beginning of the response. Montgomery amplifies the individual musical character of the response by accentuating the double stop (C and Eb) on the upbea ...
... response pattern in which the response is almost identical to the call. The only inconsistency is the rhythmic displacement and double stops at the beginning of the response. Montgomery amplifies the individual musical character of the response by accentuating the double stop (C and Eb) on the upbea ...
Grouping structure
... pronounced, a larger-level group boundary may be placed.” (p.50) – In example above, GPR 2 predicts boundaries between each set of triplets – Gap between 3rd and 4th set of triplets much bigger, so GPR 4 predicts a higher-level boundary here ...
... pronounced, a larger-level group boundary may be placed.” (p.50) – In example above, GPR 2 predicts boundaries between each set of triplets – Gap between 3rd and 4th set of triplets much bigger, so GPR 4 predicts a higher-level boundary here ...
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).