Subject and counter-subject detection for analysis of
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
Lesson UUU: The Major Scale Introduction: The
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
Lesson_UUU_-_The_Maj..
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
652KB - Drum Corps United Kingdom
... 2. Technique - techniques presented as they occur both singularly and simultaneously within the tempi, meters, tessituras, dynamic levels, and the melodic and harmonic structures involved. Clarity, enunciation and uniformity within the basic, expressive (staccato, accent, etc.) and style (swing, Lat ...
... 2. Technique - techniques presented as they occur both singularly and simultaneously within the tempi, meters, tessituras, dynamic levels, and the melodic and harmonic structures involved. Clarity, enunciation and uniformity within the basic, expressive (staccato, accent, etc.) and style (swing, Lat ...
- University of Missouri School of Law Scholarship
... to review a 400-year old scientific theory, similar to that posed here, that music is at the core of world harmony, both acoustically and relationally. 5 A little known fact is that mathematician and astronomer Johannes Kepler, widely acclaimed for discovering the three laws of planetary motion in t ...
... to review a 400-year old scientific theory, similar to that posed here, that music is at the core of world harmony, both acoustically and relationally. 5 A little known fact is that mathematician and astronomer Johannes Kepler, widely acclaimed for discovering the three laws of planetary motion in t ...
balinese gamelan music
... In Java, it is also used as court music for the royals In Bali, it is used during festive occasions and celebrations in temples Gamelan music must be performed by a group of musicians, a demonstration of the emphasis on the community spirit inherent in both Javanese and Balinese societies ...
... In Java, it is also used as court music for the royals In Bali, it is used during festive occasions and celebrations in temples Gamelan music must be performed by a group of musicians, a demonstration of the emphasis on the community spirit inherent in both Javanese and Balinese societies ...
Slide 1
... florid treble lines, borrowed melodies in middle voice not based on existing melody; Quam pulchra es ...
... florid treble lines, borrowed melodies in middle voice not based on existing melody; Quam pulchra es ...
Choral Scope and Sequence
... Define and recognize themes, countermelodies, repetition, and form Compose original melodies with set guidelines Compose simple arrangements Aurally identify the following types of compositions: AB (verse/chorus), ABA, AABA, AABBCC, Rondo, Theme and Variations) Identify sounds of various ...
... Define and recognize themes, countermelodies, repetition, and form Compose original melodies with set guidelines Compose simple arrangements Aurally identify the following types of compositions: AB (verse/chorus), ABA, AABA, AABBCC, Rondo, Theme and Variations) Identify sounds of various ...
Musical Rhetoric in Three Praeludia of Dietrich Buxtehude
... Tractatus (c. 1660), Bernhard describes three main seventeenth-century compositional styles: Stylus Gravis, Stylus Luxurians Communis, and Stylus Theatralis. Bernard not only distinguishes these styles by their venue, but more importantly, by their use of specific figures. These figures primarily de ...
... Tractatus (c. 1660), Bernhard describes three main seventeenth-century compositional styles: Stylus Gravis, Stylus Luxurians Communis, and Stylus Theatralis. Bernard not only distinguishes these styles by their venue, but more importantly, by their use of specific figures. These figures primarily de ...
PDF - UNT Digital Library
... together, employing the piano skills of both Duke Pearson and Herbie Hancock. In 1964, Adams created a new group with trumpeter Thad Jones and drummer Mel Lewis—a group that would start the momentum for the 1965 creation of the Thad Jones-Mel Lewis Orchestra.7 It was during his years with the Jones- ...
... together, employing the piano skills of both Duke Pearson and Herbie Hancock. In 1964, Adams created a new group with trumpeter Thad Jones and drummer Mel Lewis—a group that would start the momentum for the 1965 creation of the Thad Jones-Mel Lewis Orchestra.7 It was during his years with the Jones- ...
Outlining the prime
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
music-10th-edition-kamien-test-bank
... A. the emotional focal point of a melody. B. a resting place at the end of a phrase. C. a melody that serves as the starting point for a more extended piece of music. D. the repetition of a melodic pattern at a higher or lower pitch. 103.A melody that serves as the starting point for a more extended ...
... A. the emotional focal point of a melody. B. a resting place at the end of a phrase. C. a melody that serves as the starting point for a more extended piece of music. D. the repetition of a melodic pattern at a higher or lower pitch. 103.A melody that serves as the starting point for a more extended ...
A Composition Project: an Original 12
... rests. This allowed me to create unique rhythms that would play a succession of quick notes rather then spread them out allowing for the brain to have moments of dense material and others that were spread out. Another challenge I faced was answering the question of why. This question came in many fo ...
... rests. This allowed me to create unique rhythms that would play a succession of quick notes rather then spread them out allowing for the brain to have moments of dense material and others that were spread out. Another challenge I faced was answering the question of why. This question came in many fo ...
Stravinsky and the Octatonic: The Sounds of
... course of making these positive points, my article raised several methodological questions about Pieter van den Toorn’s analytical procedures. I pointed out, for example, that any proper subset of the chromatic scale can be decomposed into octatonic and diatonic components, and I challenged van den ...
... course of making these positive points, my article raised several methodological questions about Pieter van den Toorn’s analytical procedures. I pointed out, for example, that any proper subset of the chromatic scale can be decomposed into octatonic and diatonic components, and I challenged van den ...
Full PDF - 2012 Book Archive
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
Development of music perception and cognition
... A.Diederich – International University Bremen – USC – MMM – Spring 2005 ...
... A.Diederich – International University Bremen – USC – MMM – Spring 2005 ...
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA
... opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the m ...
... opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the m ...
An Analysis of Automatic Chord Recognition Procedures for Music
... Music Theory – Chord (cont’d) • By looking at the number of distinct notes which xompose a chord, we categorize the chord as triad, seventh, ninth ,etc. ...
... Music Theory – Chord (cont’d) • By looking at the number of distinct notes which xompose a chord, we categorize the chord as triad, seventh, ninth ,etc. ...
The Octave - Bill Troxler
... The octave is the interval between one musical pitch and another with half or double its frequency. The octave relationship is a natural phenomenon. The term “octave” comes from the Latin word “octavus” which means “eighth”. Some college textbooks and some learned authorities call the octave a diapa ...
... The octave is the interval between one musical pitch and another with half or double its frequency. The octave relationship is a natural phenomenon. The term “octave” comes from the Latin word “octavus” which means “eighth”. Some college textbooks and some learned authorities call the octave a diapa ...
Mozart PowerPoint
... the same time the upper strings play a new quaver tune called a counter-melody. Notice how this new melody is staccato to help make it stand out against the legato theme. • The role of the woodwind (except bassoons) is to provide chordal harmonic support during this long passage up to bar 132. The h ...
... the same time the upper strings play a new quaver tune called a counter-melody. Notice how this new melody is staccato to help make it stand out against the legato theme. • The role of the woodwind (except bassoons) is to provide chordal harmonic support during this long passage up to bar 132. The h ...
Exarchos - Stamos
... scale or a mode that appear from the lower to the higher. (Intervals are outside-time in the sense that they can be compared in terms of their size.) On the other side, we have melody or the series, as an ordering of these elements. In the same way that a melody is based on a scale or mode, the seri ...
... scale or a mode that appear from the lower to the higher. (Intervals are outside-time in the sense that they can be compared in terms of their size.) On the other side, we have melody or the series, as an ordering of these elements. In the same way that a melody is based on a scale or mode, the seri ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
Tuning Systems
... Almost all music traditions recognize the octave18 . When note Y has a frequency19 that is twice the frequency of note Z, then note Y is one octave higher than note Z. A simple mathematical way to say this is that the ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sou ...
... Almost all music traditions recognize the octave18 . When note Y has a frequency19 that is twice the frequency of note Z, then note Y is one octave higher than note Z. A simple mathematical way to say this is that the ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sou ...
dreams and trance - UCI Social Sciences
... hand. The characteristic form of these mbira pieces fits into a rhythmic cycle of forty-eight pulses or beats subdivided into four sections of twelve beats each. These forty-eight-beat cycles are repeated over and over again with minute rhythmic and melodic variations. The basic pattern of tonal rela ...
... hand. The characteristic form of these mbira pieces fits into a rhythmic cycle of forty-eight pulses or beats subdivided into four sections of twelve beats each. These forty-eight-beat cycles are repeated over and over again with minute rhythmic and melodic variations. The basic pattern of tonal rela ...
Generalizing Messiaen`s Modes of Limited Transposition to a n
... are necessary, namely the frequencies of the pitches that delimit the global interval to be divided. The algorithm can be decomposed into 3 steps: 1. Calculating all the integer divisors of the global interval. The key requirement by Messiaen is covering such an interval through a number k > 1 of oc ...
... are necessary, namely the frequencies of the pitches that delimit the global interval to be divided. The algorithm can be decomposed into 3 steps: 1. Calculating all the integer divisors of the global interval. The key requirement by Messiaen is covering such an interval through a number k > 1 of oc ...
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).