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AP Music Theory Syllabus
AP Music Theory Syllabus

... Attend concerts of all types of music; analyze the concert for all musical elements. Expectations of Students 1. Students will participate in all classroom discussions and activities. 2. Students will complete all assigned exercises and readings. 3. Students will keep and maintain a Music Theory not ...
How Music Works
How Music Works

... During the Baroque period, composers needed to make alterations in these pure tunings to allow modulations to more distant keys. Various new systems were developed that alter some intervals from pure ratios and are called mean-tone temperaments. Mean-tone systems in general make more commonly-used i ...
Master Your Theory Grade 1
Master Your Theory Grade 1

... A FLAT b is another kind of accidental. It lowers a note by a semitone. D flat is a semitone below D (D flat is another name for the black note between C and D) E flat is a semitone below E (E flat is the same note as D sharp on a keyboard). ...
Scales and temperaments: the fivefold way
Scales and temperaments: the fivefold way

... We saw in the last chapter that for notes played on conventional instruments, where partials occur at integer multiples of the fundamental frequency, intervals corresponding to frequency ratios expressable as a ratio of small integers are favored as consonant. In this chapter, we shall investigate Q ...
Is Relative Pitch Specific to Pitch?
Is Relative Pitch Specific to Pitch?

... We began our study with the classic paradigm used by Dowling and his colleagues (Dowling, 1978; Dowling & Fujitani, 1970) to demonstrate the importance of the melodic contour. They presented subjects with a randomly generated five-note melody, followed by a second five-note melody that was transpose ...
Lesson UUU: The Major Scale Introduction: The
Lesson UUU: The Major Scale Introduction: The

... The major scale, one of the most important building blocks of tonal music, consists of seven distinct pitch classes called scale degrees arranged in a specific pattern. It begins and ends with the most important pitch, the keynote (or tonic), by which we name the scale. Each pitch letter name is use ...
Lesson_UUU_-_The_Maj..
Lesson_UUU_-_The_Maj..

... The major scale, one of the most important building blocks of tonal music, consists of seven distinct pitch classes called scale degrees arranged in a specific pattern. It begins and ends with the most important pitch, the keynote (or tonic), by which we name the scale. Each pitch letter name is use ...
Notation in the Works of Luciano Berio
Notation in the Works of Luciano Berio

... The first section, since it incorporates this ostinato, has nothing written for the fingers on the second staff line. The second section drops the ostinato and indicates points along the ...
abstract - eThesis
abstract - eThesis

... The studies that compose this dissertation analyze a selection of pieces of early post-tonal music (by Debussy, Scriabin, Schoenberg, Berg, and Webern) on the basis of the notion of prolongation. They also discuss extensively the theoretical principles of post-tonal prolongation and, to some extent, ...
A permutational triadic approach to jazz harmony and the chord
A permutational triadic approach to jazz harmony and the chord

... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
(1) Sound and Music
(1) Sound and Music

... The set of all musical notes is called the Chromatic Scale, a name which comes from the Greek word chr獽a, meaning color. In this sense, chromatic scale means 'notes of all colors'. Colors, in fact, are also made up from different frequencies, those of light waves. Because notes repeat in each octav ...
pdf - Santa Fe Institute
pdf - Santa Fe Institute

... canonical tuning systems. We adopt a similar approach here, assuming a fixed number of “discrete” [Burns and Ward p. 243] pitches for a tuning system. While musics vary widely in the numbers of named pitches in use, having a fixed number of pitches offers practical and cognitive advantages. The most ...
Lesson_CCC_-_The_Min..
Lesson_CCC_-_The_Min..

... their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discussed in lesson XXX). Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? The addition of a leading tone gives Example 7 gives ...
A Theory of Tonal Hierarchies in Music
A Theory of Tonal Hierarchies in Music

... music, but also they may be especially important there. This is because music does not provide fixed reference tones except as determined by the music itself. Thus, unlike other domains in which cognitive reference points are defined independently of the category (red is perceptually red whether it ...
Pythagorean tuning
Pythagorean tuning

... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth), while 2:1 or 1:2 represent an ascending or descending octave. The major scale based on C, obtained from this tuning is:[5] In equal temperament, pai ...
Arithmetic and music in twelve easy steps
Arithmetic and music in twelve easy steps

... Musical sounds are caused by regular vibrations in the air. The number of vibrations per second causing any particular note is the frequency of that note in units of Hertz (Hz). For example, the modern standard of orchestral pitch is established by defining the note A above middle C to have a freque ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg

... Schenker’s normative view, of course, was that the seventh chord is not an independent harmony; like any other dissonance (or rather, untransformed dissonance), its prolongation is prohibited—though dissonance at one level could of course receive consonant harmonic support at another. However, which ...
Composing In the Flesh: Perceptually
Composing In the Flesh: Perceptually

... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
Lesson_CCC_-_The_Min..
Lesson_CCC_-_The_Min..

... As you can hear, the presence of the leading tone in creates a stronger, satisfying sense of resolution at the arrival of tonic. The following example shows the triads built with the leading-tone adjusted harmonic minor scale: Example 11: ...
Tone and Voice: A Derivation of the Rules of Voice
Tone and Voice: A Derivation of the Rules of Voice

... we will examine compositional practice to determine whether composers typically write in a manner consistent with these additional rules. To foreshadow the results, we will see that voice-leading practices are indeed consistent with several nontraditional rules predicted by the perceptual principles ...
Full PDF - 2012 Book Archive
Full PDF - 2012 Book Archive

... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
Lesson_UUU_-_The_Maj..
Lesson_UUU_-_The_Maj..

... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and each intervening letter name is used once and only once. Try again.”] In this lesson, we wi ...
Lesson EEE: The Dominant Seventh Chord
Lesson EEE: The Dominant Seventh Chord

... As you can hear, the presence of the leading tone in creates a stronger, satisfying sense of resolution at the arrival of tonic. The following example shows the triads built with the leading-tone adjusted harmonic minor scale: ...
Lesson_CCC_-_The_Min..
Lesson_CCC_-_The_Min..

... As you can hear, the presence of the leading tone in creates a stronger, satisfying sense of resolution at the arrival of tonic. The following example shows the triads built with the leading-tone adjusted harmonic minor scale: ...
What are Musical Scales?
What are Musical Scales?

... "I believe that by the fifteenth century with the introduction of the bass voice line, harmony became more important than melody. The lowest voice was now the foundation for everything above it, usually three other voices. Rather than flowing in a horizontal, lyrical fashion, music, because of chord ...
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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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