Music and Ideology in the Nineteenth Century
... the same relationship were virtually compelled, in order to affirm their individuality, to increase the prevalence or the intensity of the means. Even within the constraints of tonality, however, a multitude of alternatives were available or could have been devised.11 Many of those actually chosen b ...
... the same relationship were virtually compelled, in order to affirm their individuality, to increase the prevalence or the intensity of the means. Even within the constraints of tonality, however, a multitude of alternatives were available or could have been devised.11 Many of those actually chosen b ...
João Bosco: mar de criatividade
... are among the most auspicious in Brazilian music. Sometimes, I think to myself: where does it come from the sea of creativity that flows into his songs? It is most interesting that such melodic and harmonic creativity should sound so natural. I am also struck by the fact that João, who never studied ...
... are among the most auspicious in Brazilian music. Sometimes, I think to myself: where does it come from the sea of creativity that flows into his songs? It is most interesting that such melodic and harmonic creativity should sound so natural. I am also struck by the fact that João, who never studied ...
Foulk - Western Michigan University
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
Cadences - AState.edu
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
Notes for Class 3 - Midcoast Senior College
... 5) Regarding the use of materials: the F/R composers often choose to evade the so-called “crisis of chromaticism” by turning to scales and compositional techniques which either (a) pre-date the era of functional tonality, i.e. commonly used before 1600, or (b) reflect the music of nonEuropean cultur ...
... 5) Regarding the use of materials: the F/R composers often choose to evade the so-called “crisis of chromaticism” by turning to scales and compositional techniques which either (a) pre-date the era of functional tonality, i.e. commonly used before 1600, or (b) reflect the music of nonEuropean cultur ...
pdf
... Javanese pelog scale, but that infants perform equivalently on both tasks. Infants' nondifferential performance on native and foreign scales implies that the Western major scale does not have preferential status, at least for 6-monthold listeners . There are relatively few studies of preschool and s ...
... Javanese pelog scale, but that infants perform equivalently on both tasks. Infants' nondifferential performance on native and foreign scales implies that the Western major scale does not have preferential status, at least for 6-monthold listeners . There are relatively few studies of preschool and s ...
lecture16
... 4b. Consonance & Dissonance between two complex tones •In this case we have to consider the roughness between the fundamental notes as well as between the harmonics •This is what explains why some intervals are more consonant than others •In the case of the perfect fifth the two lower harmonics coi ...
... 4b. Consonance & Dissonance between two complex tones •In this case we have to consider the roughness between the fundamental notes as well as between the harmonics •This is what explains why some intervals are more consonant than others •In the case of the perfect fifth the two lower harmonics coi ...
lecture16
... 4b. Consonance & Dissonance between two complex tones • In this case we have to consider the roughness between the fundamental notes as well as between the harmonics • This is what explains why some intervals are more consonant than others • In the case of the perfect fifth the two lower harmonics ...
... 4b. Consonance & Dissonance between two complex tones • In this case we have to consider the roughness between the fundamental notes as well as between the harmonics • This is what explains why some intervals are more consonant than others • In the case of the perfect fifth the two lower harmonics ...
ATTAINMENT TARGET
... a) understand bars & bar lines in 4/4 time b) understand whole notes (semibreve), half notes (minim), quarter notes (crotchet) & their equivalent rests in 4/4 time c) read notes G, A, B, C & middle D ...
... a) understand bars & bar lines in 4/4 time b) understand whole notes (semibreve), half notes (minim), quarter notes (crotchet) & their equivalent rests in 4/4 time c) read notes G, A, B, C & middle D ...
HERE - NWSS Music
... 79. Rubato: relates to tempo, when a strict tempo is temporarily abandoned for a more flexible, emotional response to time, melody and harmony 80. scale degree: a number assigned to each note of a major scale. For example, the first note would be 1, the second 2, the third 3... 81. staccato: short d ...
... 79. Rubato: relates to tempo, when a strict tempo is temporarily abandoned for a more flexible, emotional response to time, melody and harmony 80. scale degree: a number assigned to each note of a major scale. For example, the first note would be 1, the second 2, the third 3... 81. staccato: short d ...
national 3 concepts list az - Deans Community High School
... Waulking song – A rhythmic song sung in Gaelic by the women in the Western Isles of Scotland while they ‘waulked’ the woollen cloth to soften and shrink it. Sometimes the singing is led by a soloist with a response fr ...
... Waulking song – A rhythmic song sung in Gaelic by the women in the Western Isles of Scotland while they ‘waulked’ the woollen cloth to soften and shrink it. Sometimes the singing is led by a soloist with a response fr ...
Music Composition
... Auditory neurons respond to changes in their firing rate Music is more interesting if it is not repetitive (dynamic, pitch, rhythm) ExpressTempo and SaxEx are both performance systems ...
... Auditory neurons respond to changes in their firing rate Music is more interesting if it is not repetitive (dynamic, pitch, rhythm) ExpressTempo and SaxEx are both performance systems ...
Schedule
... (ii) Describes ONE way the first chord is unusual, eg: • The Ab makes it an F minor chord, which does not (help to) establish the key indicated by the key signature. • The chord suggests the tonic minor key. ...
... (ii) Describes ONE way the first chord is unusual, eg: • The Ab makes it an F minor chord, which does not (help to) establish the key indicated by the key signature. • The chord suggests the tonic minor key. ...
4th Grade Study Guide - Mercer Island School District
... E. MELODY VOCABULARY: Know the following terms: staff, treble clef, bass clef, treble staff, bass staff, ledger line, grand staff. Know that treble clefs are used to represent high-sounding notes while bass clefs represent low-sounding notes. A grand staff uses both treble and bass staves. ...
... E. MELODY VOCABULARY: Know the following terms: staff, treble clef, bass clef, treble staff, bass staff, ledger line, grand staff. Know that treble clefs are used to represent high-sounding notes while bass clefs represent low-sounding notes. A grand staff uses both treble and bass staves. ...
Assessment Schedule – 2011
... (ii) Describes ONE way the first chord is unusual, eg: The Ab makes it an F minor chord, which does not (help to) establish the key indicated by the key signature. The chord suggests the tonic minor key. ...
... (ii) Describes ONE way the first chord is unusual, eg: The Ab makes it an F minor chord, which does not (help to) establish the key indicated by the key signature. The chord suggests the tonic minor key. ...
File
... If comfortable, you can do the movements explained on pg 234 in the Movement box depending on their behavior/compliance. Have the students read about “We Want to Sing” on pg 234-236 and look at the score, noting when the two vocal lines have the same rhythm and when they move independently. Listen ...
... If comfortable, you can do the movements explained on pg 234 in the Movement box depending on their behavior/compliance. Have the students read about “We Want to Sing” on pg 234-236 and look at the score, noting when the two vocal lines have the same rhythm and when they move independently. Listen ...
microtonal scale exploration in Central
... pentatonic containing following intervals: 324, 204, 180, 319, and 174 cents; thus three smaller intervals and two larger that linger around the pure minor third. A pure major third lies in between these two minor thirds (the two smaller intervals 204+180 make 384 cents), by which an nice enchainmen ...
... pentatonic containing following intervals: 324, 204, 180, 319, and 174 cents; thus three smaller intervals and two larger that linger around the pure minor third. A pure major third lies in between these two minor thirds (the two smaller intervals 204+180 make 384 cents), by which an nice enchainmen ...
Core Music Standards Glossary
... Digital systems: platforms that allow interaction and the conversion between and through the audio and digital domains Digital tools: category of musical instruments and tools that manipulate sound using binary code, such as electronic keyboards, digital audio interfaces, MIDI, and computer softwar ...
... Digital systems: platforms that allow interaction and the conversion between and through the audio and digital domains Digital tools: category of musical instruments and tools that manipulate sound using binary code, such as electronic keyboards, digital audio interfaces, MIDI, and computer softwar ...
REVERIE by Debussy!
... mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century. Like its precursor in the visual arts, musical Impressionism focused on suggestion and atmosphere rather than strong emotion or the depiction of a story as in program music. Musical Im ...
... mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century. Like its precursor in the visual arts, musical Impressionism focused on suggestion and atmosphere rather than strong emotion or the depiction of a story as in program music. Musical Im ...
Music 231 Motive
... rest, or 3) contrasting material. Usually, the repetition of a motive immediately follows its first appearance. Occasionally, contrasting material may forestall the repetition—but the motive will always be heard again at a later point in time. Germ Sometimes a longer motive can be heard as the summa ...
... rest, or 3) contrasting material. Usually, the repetition of a motive immediately follows its first appearance. Occasionally, contrasting material may forestall the repetition—but the motive will always be heard again at a later point in time. Germ Sometimes a longer motive can be heard as the summa ...
Document
... Program Notes, Three Pieces After Bach J.S. Bach’s The Well-Tempered Clavier is the point of departure for the three solo piano pieces I’ve composed. That work, written for keyboard instrument, contains a prelude and a fugue in all twelve keys, major and minor. He left us with two sets of these, Boo ...
... Program Notes, Three Pieces After Bach J.S. Bach’s The Well-Tempered Clavier is the point of departure for the three solo piano pieces I’ve composed. That work, written for keyboard instrument, contains a prelude and a fugue in all twelve keys, major and minor. He left us with two sets of these, Boo ...
Night in Tunisia thoughts,
... find it more useful to associate a half/whole dim scale with a dominant seventh chord, and consider the whole half as just a mode of the diminshed scale (which is symmetrical). There are only three unique dim scales for you to learn. (so no excuses). C7, Eb7, F#7, and A7 all share the same dim scale ...
... find it more useful to associate a half/whole dim scale with a dominant seventh chord, and consider the whole half as just a mode of the diminshed scale (which is symmetrical). There are only three unique dim scales for you to learn. (so no excuses). C7, Eb7, F#7, and A7 all share the same dim scale ...
lhs music theory homework 5b.389-446
... e. Move the remaining voice to the tone which will complete the triad or which provides correct doubling. f. Errors will be avoided if the doubled tones are written first. Part-write the second chord applying the above method. ...
... e. Move the remaining voice to the tone which will complete the triad or which provides correct doubling. f. Errors will be avoided if the doubled tones are written first. Part-write the second chord applying the above method. ...
Pitch Recognition with Wavelets
... Why does this work? The scale parameter in the CWT affects frequency response. However, our “scales” that work don’t seem to follow a clear pattern. ...
... Why does this work? The scale parameter in the CWT affects frequency response. However, our “scales” that work don’t seem to follow a clear pattern. ...
Contents: - Aylsham High School
... used in ‘Yiri’. Yiri uses Monophony, heterophony and Monophony = 1 sound = balaphone solo polyphony. What do these 3 words mean at very start. and where are they used in ‘Yiri’. Heterophony = several instruments playing tunes that are almost the same, but not quite = 2nd part of intro with several b ...
... used in ‘Yiri’. Yiri uses Monophony, heterophony and Monophony = 1 sound = balaphone solo polyphony. What do these 3 words mean at very start. and where are they used in ‘Yiri’. Heterophony = several instruments playing tunes that are almost the same, but not quite = 2nd part of intro with several b ...
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).