
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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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 ...
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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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 (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 ...
... 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
... staves is connected by a brace and a line. A treble clef is typically on top and a bass clef is on bottom. ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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, ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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. ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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. ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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
... 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 ...
... 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 ...