A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... œuvre, Kilar departs from full twelve-tone pitch material as a constant material basis for his compositions, and replaces it with local material fields, most frequent of limited pitch range. These are of two types of provenance: 1) structural/harmonic, where the pitch material is the resultant of th ...
... œuvre, Kilar departs from full twelve-tone pitch material as a constant material basis for his compositions, and replaces it with local material fields, most frequent of limited pitch range. These are of two types of provenance: 1) structural/harmonic, where the pitch material is the resultant of th ...
Tunings and Temperaments Powerpoint
... • Harmonic partials are almost always in tune problems are often encountered with chords ...
... • Harmonic partials are almost always in tune problems are often encountered with chords ...
Using Whole Tone Scales in Improvisation
... • The passage can extend outside the strict key range by following the associated whole tone scale, particularly over dominant chords, • Linear motion can trump vertical structure if it exhibits a logical horizontal structure and is reasonably short, • Some personal musical growth may be required to ...
... • The passage can extend outside the strict key range by following the associated whole tone scale, particularly over dominant chords, • Linear motion can trump vertical structure if it exhibits a logical horizontal structure and is reasonably short, • Some personal musical growth may be required to ...
投影片 1
... Does one use twelve-tone serialism, x-tone serialism, limited intervallic patterns, etc. Does one generate pitches according to some systems of thought Does the rational pitch organisation make any sense in aural effects ...
... Does one use twelve-tone serialism, x-tone serialism, limited intervallic patterns, etc. Does one generate pitches according to some systems of thought Does the rational pitch organisation make any sense in aural effects ...
An Analysis of the Sanctus and Benedictus and Agnus Dei in James
... Choir of Westminster Cathedral, London, with Andrew Reid (organ), directed by Martin Baker.”3 It is especially unique in that not only is the Ordinary (minus the Credo) set, but also much of the Proper as well. This work was commissioned for specific liturgical use, and so MacMillan happily wrote mu ...
... Choir of Westminster Cathedral, London, with Andrew Reid (organ), directed by Martin Baker.”3 It is especially unique in that not only is the Ordinary (minus the Credo) set, but also much of the Proper as well. This work was commissioned for specific liturgical use, and so MacMillan happily wrote mu ...
e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... chromaticism can you find? For the exercises in Part IV, it is especially important that you study the relevant chapters from Techniques and Materials of Music, and analyze examples from Music for Analysis before you undertake the writing of the exercises, as they cannot be well done without a good ...
... chromaticism can you find? For the exercises in Part IV, it is especially important that you study the relevant chapters from Techniques and Materials of Music, and analyze examples from Music for Analysis before you undertake the writing of the exercises, as they cannot be well done without a good ...
Page 1 of 8 NAHOO || Maths || The Relationship between
... fifth denotes an approximation of this value. Greek origins of Western Music The Greeks were the first people to relate Mathematics with musical scales, noticing the pleasing sounds of melodic notes sounded in succession and harmonic notes sounded simultaneously, using scales created by compounding ...
... fifth denotes an approximation of this value. Greek origins of Western Music The Greeks were the first people to relate Mathematics with musical scales, noticing the pleasing sounds of melodic notes sounded in succession and harmonic notes sounded simultaneously, using scales created by compounding ...
Claviers - Slowind
... the twelve-tone technique into his musical language, thus making a radical break with tonal music. Boulez’s pieces were written in 1945, when the war had just ended everywhere in Europe and the avant-garde was nowhere in sight. At that time, the 20-year-old Boulez was studying twelve-tone music unde ...
... the twelve-tone technique into his musical language, thus making a radical break with tonal music. Boulez’s pieces were written in 1945, when the war had just ended everywhere in Europe and the avant-garde was nowhere in sight. At that time, the 20-year-old Boulez was studying twelve-tone music unde ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... To pursue mode in a musical and scholarly way beyond the simplest classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a ...
... To pursue mode in a musical and scholarly way beyond the simplest classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a ...
Glossary of Common Musical Terms and Concepts
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
Intervals
... interval using the same notes, the upper note will have a flat or the lower note will have a sharp Create the interval of a diminished 5th (d5) above G4. What accidentals do you need to use? Create the interval of a minor 6th (m6) below D5. Create the interval of a perfect 4th (P4) below B3. ...
... interval using the same notes, the upper note will have a flat or the lower note will have a sharp Create the interval of a diminished 5th (d5) above G4. What accidentals do you need to use? Create the interval of a minor 6th (m6) below D5. Create the interval of a perfect 4th (P4) below B3. ...
Dawn Riggen Dr. Platt Music History 331 10 April 2014 Commentary
... The music of George Crumb spikes interest in many types of audiences. There is an extraordinarily haunting and intoxicating magic of its sound. There is often starting imagery that appears through his music. He has the ability to highlight and portray both animate and inanimate objects through his m ...
... The music of George Crumb spikes interest in many types of audiences. There is an extraordinarily haunting and intoxicating magic of its sound. There is often starting imagery that appears through his music. He has the ability to highlight and portray both animate and inanimate objects through his m ...
Listening To Music
... • A melody with supporting sounds, chordal accompaniment. • In the Western tradition, most hymns, folk tunes, and popular songs are set in a homophonic texture. ...
... • A melody with supporting sounds, chordal accompaniment. • In the Western tradition, most hymns, folk tunes, and popular songs are set in a homophonic texture. ...
The Octatonic Scale Description, History, Application
... o The first mode, in C, is C Db Eb E F# G A Bb C o The second mode, in C, is C D Eb F Gb Ab A B C Both modes can be thought of as two interleaved diminished seventh chords Mode 1 (the most commonly used version in classical composition) enables the simultaneous use of both the major and minor third, ...
... o The first mode, in C, is C Db Eb E F# G A Bb C o The second mode, in C, is C D Eb F Gb Ab A B C Both modes can be thought of as two interleaved diminished seventh chords Mode 1 (the most commonly used version in classical composition) enables the simultaneous use of both the major and minor third, ...
Musica Ficta and
... represents a transitional stage between ‘modality’ and ‘tonality’; that the establishment of modern tonality involves an increase in structural complexity; or indeed that tonality depends primarily upon chordal, vertical relationships at all. It is sufficient here to note that many of Monteverdi’s w ...
... represents a transitional stage between ‘modality’ and ‘tonality’; that the establishment of modern tonality involves an increase in structural complexity; or indeed that tonality depends primarily upon chordal, vertical relationships at all. It is sufficient here to note that many of Monteverdi’s w ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... But suppose we accept this very uneven set of twelve ratios as a potential “scale.” Even if we ignore the great variation in musical interval size, mapping this scale onto an equal twelve-fold division of dialogues, with each section being “harmonious” or “disharmonious” is still not straightforward ...
... But suppose we accept this very uneven set of twelve ratios as a potential “scale.” Even if we ignore the great variation in musical interval size, mapping this scale onto an equal twelve-fold division of dialogues, with each section being “harmonious” or “disharmonious” is still not straightforward ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... But suppose we accept this very uneven set of twelve ratios as a potential “scale.” Even if we ignore the great variation in musical interval size, mapping this scale onto an equal twelve-fold division of dialogues, with each section being “harmonious” or “disharmonious” is still not straightforward ...
... But suppose we accept this very uneven set of twelve ratios as a potential “scale.” Even if we ignore the great variation in musical interval size, mapping this scale onto an equal twelve-fold division of dialogues, with each section being “harmonious” or “disharmonious” is still not straightforward ...
Pitch Perception - University of Limerick
... • Intervals between successive firings for a complex sound consisting of the frequency components 200, 400, 600 and 800 Hz. • Intervals between successive nerve firings indicate the period of each individual harmonic, when sufficiently resolved. • Lowest common time interval at 0.005s – corresponds ...
... • Intervals between successive firings for a complex sound consisting of the frequency components 200, 400, 600 and 800 Hz. • Intervals between successive nerve firings indicate the period of each individual harmonic, when sufficiently resolved. • Lowest common time interval at 0.005s – corresponds ...
pitch powerpoint
... • Intervals between successive firings for a complex sound consisting of the frequency components 200, 400, 600 and 800 Hz. • Intervals between successive nerve firings indicate the period of each individual harmonic, when sufficiently resolved. • Lowest common time interval at 0.005s – corresponds ...
... • Intervals between successive firings for a complex sound consisting of the frequency components 200, 400, 600 and 800 Hz. • Intervals between successive nerve firings indicate the period of each individual harmonic, when sufficiently resolved. • Lowest common time interval at 0.005s – corresponds ...
MSP_lecture3
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
Grade 9 Instrumental Music Theory Workbook
... A chromatic scale contains every possible note between two notes an octave apart. There are 12 different notes in a chromatic scale, each one a semitone away from the next. A chromatic scale consists entirely of semitones. When going up the chromatic scale, we use the sharp names. When going down th ...
... A chromatic scale contains every possible note between two notes an octave apart. There are 12 different notes in a chromatic scale, each one a semitone away from the next. A chromatic scale consists entirely of semitones. When going up the chromatic scale, we use the sharp names. When going down th ...
JAY MCSHANN's HOOTIE BLUES
... these eight-‐notes with a short attack. While this is indicative of swung eighth notes in general, McShann exaggerates this principle. A similar exaggeration if you will, is applied to the accen ...
... these eight-‐notes with a short attack. While this is indicative of swung eighth notes in general, McShann exaggerates this principle. A similar exaggeration if you will, is applied to the accen ...
Milhaud Describes Polytonality
... twentieth century led composers and writers at this time to look for principles governing new harmonic resources. One such musician was Darius Milhaud, who in music of the 1920s experimented with the simultaneous use of multiple keys, each appearing in different strata of a piece. He called the phen ...
... twentieth century led composers and writers at this time to look for principles governing new harmonic resources. One such musician was Darius Milhaud, who in music of the 1920s experimented with the simultaneous use of multiple keys, each appearing in different strata of a piece. He called the phen ...
Pitch is directly related to frequency and my analysis of ragas is
... 'Equally tempered' arrangement. Besides the keyboard, most Western musical instruments are tuned to such an arrangement. The Western music defines a standard octave called the 'Middle C octave' (also called the Middle C scale). We have no need to have just twelve keys in an octave. In fact, the trad ...
... 'Equally tempered' arrangement. Besides the keyboard, most Western musical instruments are tuned to such an arrangement. The Western music defines a standard octave called the 'Middle C octave' (also called the Middle C scale). We have no need to have just twelve keys in an octave. In fact, the trad ...
View
... way up the scale, and then both are lowered on the way down. This change allows for writing smoother melodic lines in minor keys. The second half of the ascending Melodic minor sounds like a Major scale. The descending Melodic minor scale sounds like a Natural minor scale. The following is an A Melo ...
... way up the scale, and then both are lowered on the way down. This change allows for writing smoother melodic lines in minor keys. The second half of the ascending Melodic minor sounds like a Major scale. The descending Melodic minor scale sounds like a Natural minor scale. The following is an A Melo ...