![Musician’s Toolbox Christina Lipson ‘14 Advisor: Professor John Ridgway](http://s1.studyres.com/store/data/008092809_1-1516d0843c7a35b91b0e7246a6ba0c3c-300x300.png)
Musician’s Toolbox Christina Lipson ‘14 Advisor: Professor John Ridgway
... own music, analyze music, and reference musical information. These four components (Train, Create, Analyze, Reference) act as categories and each contain different musical functions. The application was built using Ruby on Rails and other assisting web development languages (HTML, CSS, JavaScript). ...
... own music, analyze music, and reference musical information. These four components (Train, Create, Analyze, Reference) act as categories and each contain different musical functions. The application was built using Ruby on Rails and other assisting web development languages (HTML, CSS, JavaScript). ...
Compositional trajectories [Medieval music]
... here, the third mode is the authentic member of the pair, which means that these melodies both move primarily above the final (rather than around and below it). To penetrate any farther into their melodic languages, an approach through the text is essential. Exsurge domine is the respond of a gradua ...
... here, the third mode is the authentic member of the pair, which means that these melodies both move primarily above the final (rather than around and below it). To penetrate any farther into their melodic languages, an approach through the text is essential. Exsurge domine is the respond of a gradua ...
notes - Blue Heron Renaissance Choir
... ing hold of and altering our sense of time, and to do so Ockeghem, like Perotin, uses means both melodic and rhythmic (pitch and duration, the basic elements of music). His counterpoint spins out long melodies whose relationship to one another is not obvious—there are few unanimous cadences and few ...
... ing hold of and altering our sense of time, and to do so Ockeghem, like Perotin, uses means both melodic and rhythmic (pitch and duration, the basic elements of music). His counterpoint spins out long melodies whose relationship to one another is not obvious—there are few unanimous cadences and few ...
Definitions, Quiz 1
... Thematic development. The process of revealing a theme's capacities and brining them to fulfillment. The principle of elaborating or varying a musical idea is pervasive in Western music, and it is also found in melody-oriented styles of many Far Eastern and Middle Eastern musics. Sequence. A restate ...
... Thematic development. The process of revealing a theme's capacities and brining them to fulfillment. The principle of elaborating or varying a musical idea is pervasive in Western music, and it is also found in melody-oriented styles of many Far Eastern and Middle Eastern musics. Sequence. A restate ...
Text and Music Melody Rhythm Harmony Texture Musical Text Setting
... foundation. This means that our harmony is based on notes that are a distance of a third apart. (This interval can be experienced at the piano by playing any white key, skipping the next white key, and playing the following white key.) This interval became the foundation for the construction of all ...
... foundation. This means that our harmony is based on notes that are a distance of a third apart. (This interval can be experienced at the piano by playing any white key, skipping the next white key, and playing the following white key.) This interval became the foundation for the construction of all ...
Akrotiri Music Curriculum Overview 2016 2017
... I can describe, compare and evaluate different kinds of music using different musical language. I can comment on how the composer of a piece has achieved an effect. Choose from a wide range of musical vocabulary to accurately describe and appraise music including; ...
... I can describe, compare and evaluate different kinds of music using different musical language. I can comment on how the composer of a piece has achieved an effect. Choose from a wide range of musical vocabulary to accurately describe and appraise music including; ...
Introduction to Scales
... major scale. Write the 8 notes beginning and ending on C in the treble clef and work out the relationship between each of the notes with the class. Let the class write down C Major scale with the semi-tones marked by a slur. Move onto G Major: Write the 8 notes beginning and ending on G in the trebl ...
... major scale. Write the 8 notes beginning and ending on C in the treble clef and work out the relationship between each of the notes with the class. Let the class write down C Major scale with the semi-tones marked by a slur. Move onto G Major: Write the 8 notes beginning and ending on G in the trebl ...
essay - Dartmouth Math Home
... kind of static sound. Furthermore, fractal relationships in intensity are also manifested in rhythmic structures; the strongest 1/f relationships that have been found in music are found in frequencies of less than 1 Hz, that is, rhythmic frequencies (Loy). This suggests that musical downbeats have ...
... kind of static sound. Furthermore, fractal relationships in intensity are also manifested in rhythmic structures; the strongest 1/f relationships that have been found in music are found in frequencies of less than 1 Hz, that is, rhythmic frequencies (Loy). This suggests that musical downbeats have ...
Basic Music Powerpoint
... music is arranged • Sometimes its how many parts or how little parts. • For example there is monophony which is one part… and there is polyphony which is multiple parts. ...
... music is arranged • Sometimes its how many parts or how little parts. • For example there is monophony which is one part… and there is polyphony which is multiple parts. ...
See more information on MUS - Barbershop Harmony Society
... performer’s choices of appropriate voicings and embellishment when used to enhance the song’s theme and delivery. Embellishment- The Music judge evaluates the effectiveness with which the performer uses embellishments for their intended purpose, such as the use of rhythmic propellants to create forw ...
... performer’s choices of appropriate voicings and embellishment when used to enhance the song’s theme and delivery. Embellishment- The Music judge evaluates the effectiveness with which the performer uses embellishments for their intended purpose, such as the use of rhythmic propellants to create forw ...
The Motown Beat
... Dynamics and Inflection • Dynamics refers to loudness and softness • Inflection is dynamic variation on a small scale, a stress of one note over another • Hierarchy – Vocal lines most prominent – Bass line and backbeat next loudest – All other lines in the background ...
... Dynamics and Inflection • Dynamics refers to loudness and softness • Inflection is dynamic variation on a small scale, a stress of one note over another • Hierarchy – Vocal lines most prominent – Bass line and backbeat next loudest – All other lines in the background ...
Tonic and Dominant
... NON-HARMONIC CHORD TONES • Any note that is note heard as a member of the prevailing harmony (chord) • Two common types Non-Harmonic Chord Tones • Passing Tone (p.t.) • Neighbor Tone (n.t.) or Auxiliary Tone (aux.) ...
... NON-HARMONIC CHORD TONES • Any note that is note heard as a member of the prevailing harmony (chord) • Two common types Non-Harmonic Chord Tones • Passing Tone (p.t.) • Neighbor Tone (n.t.) or Auxiliary Tone (aux.) ...
Music Information Retrieval
... Pitch – perceived fundamental frequency of a sound. Maybe different from actual frequency because of harmonics. Timbre – the quality of a musical note that distinguishes different types of sound production, such as voices or musical instruments (saxophone vs. trumpet – with same pitch and loudness) ...
... Pitch – perceived fundamental frequency of a sound. Maybe different from actual frequency because of harmonics. Timbre – the quality of a musical note that distinguishes different types of sound production, such as voices or musical instruments (saxophone vs. trumpet – with same pitch and loudness) ...
expressionist - davenantperformingarts
... a word used to describe how timbre contributes to melody in addition to pitch and rhythm. 4. Hexachord: A six-note chord made up from the 12 available pitches of the chromatic scale. 5. Compliment: The six remaining notes which have not been used in the hexachord. 6. Principal Voice: The main melodi ...
... a word used to describe how timbre contributes to melody in addition to pitch and rhythm. 4. Hexachord: A six-note chord made up from the 12 available pitches of the chromatic scale. 5. Compliment: The six remaining notes which have not been used in the hexachord. 6. Principal Voice: The main melodi ...
Scales
... as time. The meter or time signature in a musical composition is indicated by a fraction, and located at the beginning of a piece of music. The lower number of the fraction tells what kind of note receives one beat. The upper number tells how many beats are in a measure. In Western music there are t ...
... as time. The meter or time signature in a musical composition is indicated by a fraction, and located at the beginning of a piece of music. The lower number of the fraction tells what kind of note receives one beat. The upper number tells how many beats are in a measure. In Western music there are t ...
Baroque Vocal Music
... Two or more people sing the same line. (also applies to instruments). One musical part ...
... Two or more people sing the same line. (also applies to instruments). One musical part ...
Powerpoint
... Heavy, repetitive chord rhythms on the second half of the beat. The guitar often uses a heavy downward ‘chop’ stroke, immediately dampened by the left hand. This technique, sometimes using only the top four strings, was known as the reggae ‘shank’ style; ‘Tri-functional bass lines’. These provid ...
... Heavy, repetitive chord rhythms on the second half of the beat. The guitar often uses a heavy downward ‘chop’ stroke, immediately dampened by the left hand. This technique, sometimes using only the top four strings, was known as the reggae ‘shank’ style; ‘Tri-functional bass lines’. These provid ...
File
... Visually identify line and space notes and notate pitches on the treble clef staff Orally identify question-and-answer phrases Accurately interpret first and second endings Identify and use non-traditional and traditional notation to represent and record sound events and simple songs Use traditional ...
... Visually identify line and space notes and notate pitches on the treble clef staff Orally identify question-and-answer phrases Accurately interpret first and second endings Identify and use non-traditional and traditional notation to represent and record sound events and simple songs Use traditional ...
notes and scales
... the treble clef, on the first line is the note E (mi), and the other notes can be put following the scale and alternating lines and spaces. On the first space is the note F (fa), on the second line is the note G (sol), on the second space is the note A (la), and so on. On the other hand, the bass cl ...
... the treble clef, on the first line is the note E (mi), and the other notes can be put following the scale and alternating lines and spaces. On the first space is the note F (fa), on the second line is the note G (sol), on the second space is the note A (la), and so on. On the other hand, the bass cl ...
First of all I want to explain that this workshop is a
... typical rhythm intensity from south and of melodies from north . The harmony is not too developed in comparison with western cultures, using mostly triadic chords and ostinatos in bass line. It’s often heard that the principal feature of African music are drums, but there is much music that lacks th ...
... typical rhythm intensity from south and of melodies from north . The harmony is not too developed in comparison with western cultures, using mostly triadic chords and ostinatos in bass line. It’s often heard that the principal feature of African music are drums, but there is much music that lacks th ...
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).