File
... quarter-notes in the initial sequence (620Hz–halfnote, 1200Hz–whole-note, 840Hz–half-note, and 660Hz–quarter-note) is 2 + 4 + 2 + 1 = 9. Thus the initial sequence must be played in 9/120 minutes, or 4.5 seconds. The time signature of a piece indicates two things: a) how many beats are in a measure, ...
... quarter-notes in the initial sequence (620Hz–halfnote, 1200Hz–whole-note, 840Hz–half-note, and 660Hz–quarter-note) is 2 + 4 + 2 + 1 = 9. Thus the initial sequence must be played in 9/120 minutes, or 4.5 seconds. The time signature of a piece indicates two things: a) how many beats are in a measure, ...
Scelsi, De-composer
... pitches, accompanied by dynamics markings, timbral instructions, and so on— representing only various moments within the evolution of that sound. Scelsi’s intuitive grasp of acoustics is remarkable. He exploits, probably unconsciously, acoustic phenomena such as transients, beats, the width of the c ...
... pitches, accompanied by dynamics markings, timbral instructions, and so on— representing only various moments within the evolution of that sound. Scelsi’s intuitive grasp of acoustics is remarkable. He exploits, probably unconsciously, acoustic phenomena such as transients, beats, the width of the c ...
The Relative Importance of Local and Global Structures in
... Db-D-D#/Eb-E-F-F#/Gb-G-G#/Ab-A-A#/Bb). These tones appear together in groups of three tones that define chords and create a secondorder level of the musical system. Some chords are often used together, and these groups define keys, the third-order level of the musical system. Keys that have strong h ...
... Db-D-D#/Eb-E-F-F#/Gb-G-G#/Ab-A-A#/Bb). These tones appear together in groups of three tones that define chords and create a secondorder level of the musical system. Some chords are often used together, and these groups define keys, the third-order level of the musical system. Keys that have strong h ...
RATIOS AND MUSICAL INTERVALS We like to think of an interval
... Since A3 has frequency 220 Hz (being one octave below A4 ) we have f = 220 · 21/3 ≈ 277.18 . Therefore C4 should be tuned to 277.18 Hz. Microtuning and Cents. We will see later that mathematical tuning involves intervals which cannot be as an integer multiple of semitones. The term microtuning refe ...
... Since A3 has frequency 220 Hz (being one octave below A4 ) we have f = 220 · 21/3 ≈ 277.18 . Therefore C4 should be tuned to 277.18 Hz. Microtuning and Cents. We will see later that mathematical tuning involves intervals which cannot be as an integer multiple of semitones. The term microtuning refe ...
Proceedings of the 14th International Computer Music Conference
... horizontallinc segmcnt, which ts drown from thc icon or1gion to the r1ght directton, os shown in Ftgure 3. Agoin, the note durotion excludes the release part of the ADSR amplitude envelope. The time interval between notes can be also noted on the some line section os an extension of the note durotto ...
... horizontallinc segmcnt, which ts drown from thc icon or1gion to the r1ght directton, os shown in Ftgure 3. Agoin, the note durotion excludes the release part of the ADSR amplitude envelope. The time interval between notes can be also noted on the some line section os an extension of the note durotto ...
Scales and temperaments: the fivefold way
... can be used to construct scales consisting of notes that are for the most part related by small integer ratios. Given the fundamental role of the octave, it is natural to take the harmonics of a note and move them down a number of octaves to place them all in the same octave. In this case, the ratio ...
... can be used to construct scales consisting of notes that are for the most part related by small integer ratios. Given the fundamental role of the octave, it is natural to take the harmonics of a note and move them down a number of octaves to place them all in the same octave. In this case, the ratio ...
Interactive Unit Planner - Arts Online
... the tuning system of the instruments is different to western equal temperament tuning it has a characteristic heterophonic texture it is based on ostinati and, therefore, sounds quite repetitive Melody is the most important feature of gamelan. Melodies are generally based around pentatonic sca ...
... the tuning system of the instruments is different to western equal temperament tuning it has a characteristic heterophonic texture it is based on ostinati and, therefore, sounds quite repetitive Melody is the most important feature of gamelan. Melodies are generally based around pentatonic sca ...
classification of indian classical vocal styles from
... timbre, rhythm and musicology-based features. More recently, Salamon et al. [6] classified Western genres using melodic features computed from pitch contours extracted from polyphonic audio. Hindustani and Carnatic music differ in the nature of the accompanying instrumentation and can potentially be ...
... timbre, rhythm and musicology-based features. More recently, Salamon et al. [6] classified Western genres using melodic features computed from pitch contours extracted from polyphonic audio. Hindustani and Carnatic music differ in the nature of the accompanying instrumentation and can potentially be ...
The Artist`s Refuge: Idiosyncratic Properties of the
... triplet melody. It is also the only one to employ a notably different registration, pointing to Alain’s use of timbre to distinguish sections of material (a practice he would expand upon in subsequent works). Consequently, the fourth statement feels very much like a delayed B section, while generall ...
... triplet melody. It is also the only one to employ a notably different registration, pointing to Alain’s use of timbre to distinguish sections of material (a practice he would expand upon in subsequent works). Consequently, the fourth statement feels very much like a delayed B section, while generall ...
The Sounds of Whitman: A Composer`s View
... Juilliard School, also interpreted Whitman's verbal art in his musical setting of it. Persichetti's Celebrations for Chorus and Wind Ensemble, commissioned by the Wisconsin State University at River Falls, was written in 1966 and stands as an excellent example of a moving and evocative large-scale c ...
... Juilliard School, also interpreted Whitman's verbal art in his musical setting of it. Persichetti's Celebrations for Chorus and Wind Ensemble, commissioned by the Wisconsin State University at River Falls, was written in 1966 and stands as an excellent example of a moving and evocative large-scale c ...
Centering on African Practice in Musical Arts
... works in journals such as Ethnomusicology, Journal of Musical Arts in Africa, Readings in African Diaspora Music, PASMAE and ISME publications, World Carols for Choirs (OUP), and the forthcoming Anthology of Piano Works by Composers of African Descent (OUP), also the Journal of the International Ass ...
... works in journals such as Ethnomusicology, Journal of Musical Arts in Africa, Readings in African Diaspora Music, PASMAE and ISME publications, World Carols for Choirs (OUP), and the forthcoming Anthology of Piano Works by Composers of African Descent (OUP), also the Journal of the International Ass ...
Analysis And Impact Of Selected Compositions That
... Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this exam ...
... Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this exam ...
Hybrid Thinking in Meloharmony
... We are all familiar with our Western music history and the gradual development of temperaments leading up to the development of equal temperament as a tuning system for keyboard instruments, which is the predominant system of temperament in Western music today. The primary challenge through the cent ...
... We are all familiar with our Western music history and the gradual development of temperaments leading up to the development of equal temperament as a tuning system for keyboard instruments, which is the predominant system of temperament in Western music today. The primary challenge through the cent ...
Articulation - OpenStax CNX
... bones are connected to make a skeleton or syllables are connected to make a word. Articulation depends on what is happening at the beginning and end of each segment, as well as in between the segments. In music, the segments are the individual notes of a line in the music. This could be the melodic1 ...
... bones are connected to make a skeleton or syllables are connected to make a word. Articulation depends on what is happening at the beginning and end of each segment, as well as in between the segments. In music, the segments are the individual notes of a line in the music. This could be the melodic1 ...
NGFL_Shost_movt_3_analysis
... TONALITY: The key signature is two flats, and despite the chromatic inflections, the opening bars and the final two notes of the last phrase clearly suggest G minor. HARMONY: There is much chromatic movement, and the frequently occurring Bª is off-putting in what has been recognised overall as a min ...
... TONALITY: The key signature is two flats, and despite the chromatic inflections, the opening bars and the final two notes of the last phrase clearly suggest G minor. HARMONY: There is much chromatic movement, and the frequently occurring Bª is off-putting in what has been recognised overall as a min ...
Level 4 Workbook
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
Concert Band Week 9 Map Connections 3PP.1.b Describe the uses
... playing SW write a list of 5 items telling what they should think about while playing, elaborating on each point to show understanding Do Now: Key Signature review Pair share DOL: bass clef 2 worksheet Warmup Scales: F, Bb, Eb Whip around for “What should you think about while playing?” Golden Eagle ...
... playing SW write a list of 5 items telling what they should think about while playing, elaborating on each point to show understanding Do Now: Key Signature review Pair share DOL: bass clef 2 worksheet Warmup Scales: F, Bb, Eb Whip around for “What should you think about while playing?” Golden Eagle ...
Japanese shakuhachi Honkyoku: its characteristics and
... • Many possible tone-quality, ne-iro or timbre descriptions its important in shakuhachi music • Shakuhachi can produce many different qualities of tone the possible use of timbre to structure the melody. • The meri and kari tones changes in timbre due to simultaneous changes in pitch and dynami ...
... • Many possible tone-quality, ne-iro or timbre descriptions its important in shakuhachi music • Shakuhachi can produce many different qualities of tone the possible use of timbre to structure the melody. • The meri and kari tones changes in timbre due to simultaneous changes in pitch and dynami ...
FREE Sample Here
... The element of music that is determined by the frequency (cycles per second) of its vibration is called A) dynamics. B) timbre. C) pitch. D) a staff. Ans: C 19. The distance between two pitches is a(an) A) frequency. B) accent. C) timbre. D) interval. Ans: D 20. Two identical pitches played one afte ...
... The element of music that is determined by the frequency (cycles per second) of its vibration is called A) dynamics. B) timbre. C) pitch. D) a staff. Ans: C 19. The distance between two pitches is a(an) A) frequency. B) accent. C) timbre. D) interval. Ans: D 20. Two identical pitches played one afte ...
FREE Sample Here
... The element of music that is determined by the frequency (cycles per second) of its vibration is called A) dynamics. B) timbre. C) pitch. D) a staff. Ans: C 19. The distance between two pitches is a(an) A) frequency. B) accent. C) timbre. D) interval. Ans: D 20. Two identical pitches played one afte ...
... The element of music that is determined by the frequency (cycles per second) of its vibration is called A) dynamics. B) timbre. C) pitch. D) a staff. Ans: C 19. The distance between two pitches is a(an) A) frequency. B) accent. C) timbre. D) interval. Ans: D 20. Two identical pitches played one afte ...
Perspectives on Music during the Counter-Reformation
... clearly exceeded those concepts laid out in the Sacerdotale. Also, priests in general were not the leaders of musical elements of the Mass, so the Compendium does not need to thoroughly describe all musical knowledge. Despite being short, the Compendium is an excellent depiction of which musical con ...
... clearly exceeded those concepts laid out in the Sacerdotale. Also, priests in general were not the leaders of musical elements of the Mass, so the Compendium does not need to thoroughly describe all musical knowledge. Despite being short, the Compendium is an excellent depiction of which musical con ...
Pythagorean whole tone - Jacobs University Mathematics
... A scale is a discrete set of pitches arranged in such a way as to yield a maximum possible number of consonant combinations (or minimizes possible number of dissonance) when to or more notes of the set are sounded together. (Here a scale is a set of tones with mathematically defined frequency re ...
... A scale is a discrete set of pitches arranged in such a way as to yield a maximum possible number of consonant combinations (or minimizes possible number of dissonance) when to or more notes of the set are sounded together. (Here a scale is a set of tones with mathematically defined frequency re ...
Introduction to Music: Musical Forms
... phrases, two in each reprise. Motivically they relate to one another as |aa|ba|. This type of rounded binary design is called a quatrain. In a continuous rounded binary form in quatrain design, the first reprise will often end with a PAC in the dominant; the bridge will lead to another cadence on th ...
... phrases, two in each reprise. Motivically they relate to one another as |aa|ba|. This type of rounded binary design is called a quatrain. In a continuous rounded binary form in quatrain design, the first reprise will often end with a PAC in the dominant; the bridge will lead to another cadence on th ...
Confirma hoc
... the ancient Greeks. In approximately 500 B.C. Pythagoras, perhaps history’s first music theorist, and other ancient Greek scientists developed a system of scales (modes) and division of the octave still in use to this day. The early Greeks developed a system of tonal organization that is the foundat ...
... the ancient Greeks. In approximately 500 B.C. Pythagoras, perhaps history’s first music theorist, and other ancient Greek scientists developed a system of scales (modes) and division of the octave still in use to this day. The early Greeks developed a system of tonal organization that is the foundat ...
Minor Keys and Scales
... arranged in the same major scale pattern and build the same types of chords that have the same relationships with each other. (See Beginning Harmonic Analysis4 for more on this.) So music that is in, for example, C major, will not sound signicantly dierent from music that is in, say, D major. But ...
... arranged in the same major scale pattern and build the same types of chords that have the same relationships with each other. (See Beginning Harmonic Analysis4 for more on this.) So music that is in, for example, C major, will not sound signicantly dierent from music that is in, say, D major. But ...
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).