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Musicology Today
Musicology Today

... are combined, traditional forms are treated as architectural building patterns of the work in the new language (Ravel, Berg, Bartók); (Vasiliu 2002: 23-124). Where is Scriabin situated? In a study we have published in 2002, a first example refers to the modal structure of the pitch organization (the ...
Pitch
Pitch

... and  also  within  speakers  due  to  context  and  sentence  posi4on,   but  what  stays  rela4vely  constant  is  pitch  level  as  a  propor1on   of  current  range.   COGS  300   ...
Computer models for algorithmic composition
Computer models for algorithmic composition

... mechanism for separating music style from input compositions. Another solution is applying the widely used artificial neural networks as a simplified model of the human brain which separates patterns from the given data structures. In this area the most recent studies are described in [6] and [7]. P ...
Strategies for Solving Multiplication Problems
Strategies for Solving Multiplication Problems

... Multiplication Problems (page 1 of 4) ...
On Ben Johnston`s Notation and the Performance
On Ben Johnston`s Notation and the Performance

... In the early 20th century, American composer and theorist Harry Partch became fascinated with the sound of just intervals tuned by ear, and not only the classical consonances constructed from fifths and thirds. In his music he began to also incorporate intervals derived from the 7th and 11th partial ...
Harmony
Harmony

... Month: SEPTEMBER – Chapter 1 – Key Signatures and Intervals Enduring Understandings  Music –making is one of the oldest, most intimate and basic forms of communication and cultural expression.  Reading and notating music are essential to music literacy.  Educated music listeners learn to describe ...
here
here

... doubling value of the original rhythm – slows the piece - Diminution; repetition of a phrase, using notes that are of shorter duration than in the original phrase – halves the value of the original rhythm – quickens the piece - Anacrusis; 1 or more accented notes immediately before the first downbea ...
Aspects of contemporary technique
Aspects of contemporary technique

... Aspects of contemporary technique (with comments about Cage, Feldman, Scelsi and Babbitt) The twentieth century presents string players with two sets of (somewhat related) technical problems: the variety of timbral and dynamic demands made upon the bow arm; and the intervallic demands made upon our ...
Good Morning!! - Cloudfront.net
Good Morning!! - Cloudfront.net

... staves is connected by a brace and a line. A treble clef is typically on top and a bass clef is on bottom. ...
The demise of number ratios in music theory
The demise of number ratios in music theory

... So what about quartertones? • Quartertones simply lie between half-tone steps • Like half-tones, they are pitch categories - not ratios. Non-western music theories • Ratio theories exist in many music traditions • All are problematic for the same reasons ...
The chromatic scale The major scale Scale degrees and
The chromatic scale The major scale Scale degrees and

... While ISO notation allows us to label a pitch in its specific register, it is often useful to know where that pitch fits within a given scale. For example, the pitch class D is the first (and last) note of the D­major scale. The pitch class A is the fifth note of the D­major scale. When described i ...
A - The sixth note of the diatonic major scale of C
A - The sixth note of the diatonic major scale of C

... Cantata - Baroque sacred or secular choral composition containing solos, duets, and choruses, with orchestral or keyboard accompaniment. Carol - The term was derived from a medieval French word, carole, a circle dance. In England it was first associated with pagan songs celegrating the winter solsti ...
Music and Ideology in the Nineteenth Century
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... arising from potentiality, by the informality of open structures and the suggestiveness of implicit significance. And countless critics and historians of the arts have remarked upon these traits and upon the continuing oscillation from one of these general outlooks to the other. Each romantic phase, ...
urn_nbn_fi_jyu-20
urn_nbn_fi_jyu-20

... symmetrical (having one or more symmetry axes, thus having limited transpositions 2 ) or asymmetrical (having all 12 transpositions). The most common symmetrical modes are the hexatonic, octatonic and whole-tone scale (studied in relation to TPS in Lerdahl 2001, ch. 6). The asymmetrical modes may st ...
Intervals and Dissonance in Human Evolution
Intervals and Dissonance in Human Evolution

... This system foresees the music of the future as being a single note in which we can “experience a whole melody.” In a single note we will also know the spiritual meaning that lies behind music. I see this process of knowing the intervals within an octave reoccurring within the single note, because i ...
An Analysis of Karlheinz Stockhausen`s Traum
An Analysis of Karlheinz Stockhausen`s Traum

... fixed pitch, duration, dynamic and register. Interestingly, this piece, which had 'opened to Stockhausen the means for a serial organisation' 2. of all parameters, shares a three-part pre-compositional structure with the Licht cycle. ...
From Pythagoras to Johann Sebastian Bach: An
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... exception of the last few bars), Bach includes specific dynamic markings with which one may effectively play this piece as meant to be. Despite the lack of focus upon intervallic relationships and small-scale details, this prelude is incredibly complicated, but on a large scale. In his quest to retu ...
Chapter 2
Chapter 2

... Another reserved symbol is the letter S. It is used for the set containing all objects under consideration. Thus if, in a particular problem, the only objects of interest are the colours of a traffic light, then S = {red, amber, green}. The set S is known to mathematicians as the universal set. In s ...
Adventures with Pascal`s triangle and Binary Numbers
Adventures with Pascal`s triangle and Binary Numbers

... This looks quite remarkable and, for those who know something about fractals, it has exactly the same pattern as the Sierpinski gasket. The rows with all odd numbers are rows number 0, 1, 3, 7, 15, . . .. These look like all the numbers which are one less than a power of 2, and in fact this is true ...
Lorenz Composer
Lorenz Composer

... this in a similar manner, using the Lorenz attractor as the dice. Music often is represented by a set of patterns. Repetition often allows the music to be consonant and pleasing. With the Lorenz composer, many of the resulting melodies exhibit random behavior, creating an interesting musical effect. ...
Organised Sound Algorithmic composition as a model of creativity
Organised Sound Algorithmic composition as a model of creativity

... may say that the only difference between a composer’s creative methodology and some algorithm that approximates it is that the composer can exhibit much more flexibility. An algorithm by definition is rigid, whereas creativity often breaks rules. However, there is something to be said for following ...
89 MUSICAL LITERACY: A HISTORICAL PERSPECTIVE Prof. Dr
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... experienced players use their peripheral vision for certain notational features. He could not detect a fixation of the eye on dynamic indications, for example, although the subjects in his experiment implemented them in their performances and therefore clearly saw them. So, we see that even a single ...
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and

... most naturally accommodated. Quite often the cadences of the piece will arrive at the first scale note, or tonic of the composition’s mode. Each of the scales derived from the standard scale by a cyclic permutation are modes that were used and named by the Ancient Greeks. These names were incorrectly ...
Georgian Court University © 2006 The McGraw
Georgian Court University © 2006 The McGraw

...  Staff = The five lines and four spaces on which music is notated  Notes = Written musical pitches and rhythms  Rests = Notated silences in music  Clef = The sign placed at the beginning of the staff, indicating that a particular line represents a specific pitch ...
PDF text - Music Theory Online
PDF text - Music Theory Online

... the other hand, would be Classic-Modernist, tonal but loosely knit (e.g., Janáček), and an innovative one would be Modernist, atonal, and Expressionist (e.g., Berg). [15] Despite Whittall’s assertion that he intends the book to delve “deeper into certain aspects of twentieth-century composition than ...
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Serialism

In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called ""parameters""), such as duration, dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architecture (Bandur 2001, 5, 12, 74; Gerstner 1964, passim), and the musical concept has also been adopted in literature (Collot 2008, 81; Leray 2008, 217–19; Waelti-Walters 1992, 37, 64, 81, 95).Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch (Whittall 2008, 273). Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism (Grant 2001, 5–6).Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music. Other composers such as Béla Bartók, Luciano Berio, Benjamin Britten, John Cage, Aaron Copland, Olivier Messiaen, Arvo Pärt, Walter Piston, Ned Rorem, Alfred Schnittke, Dmitri Shostakovich, and Igor Stravinsky used serialism only for some of their compositions or only for some sections of pieces, as did some jazz composers such as Yusef Lateef and Bill Evans.
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