Musical Terms: Musicians use certain words and phrases (that may
... common usage) to describe musical elements. Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pitch can also be altered in terms of dynamics and tone quality (timbre). Scales and Intervals a ...
... common usage) to describe musical elements. Music is made of pitches (notes or tones) that can be altered to be higher or lower. Pitches can also be altered by duration; the length of time a pitch lasts. Pitch can also be altered in terms of dynamics and tone quality (timbre). Scales and Intervals a ...
Text
... melody and voice leading, harmonic progression, rhythm, form, timbre and texture, or a style or "school" of composition such as neoclassicism, exoticism, atonality, serialism, and chance music. N early all compositional issues of the century are given at least some mention, with good illustrations f ...
... melody and voice leading, harmonic progression, rhythm, form, timbre and texture, or a style or "school" of composition such as neoclassicism, exoticism, atonality, serialism, and chance music. N early all compositional issues of the century are given at least some mention, with good illustrations f ...
Power Point presentation: basics of music
... • How sounds deployed through time = rhythm • How quickly or slowly piece moves = tempo • How many sounds happening at once = texture • How loud or soft = dynamics ...
... • How sounds deployed through time = rhythm • How quickly or slowly piece moves = tempo • How many sounds happening at once = texture • How loud or soft = dynamics ...
Capability-Based Optimization in Mediators
... Selection Example Dealer 2 has two different sources. 1. Autos(serial, model, color) 2. Options(serial, option) Assuming we have only the following adornments for the two sources. • ubf for Autos ...
... Selection Example Dealer 2 has two different sources. 1. Autos(serial, model, color) 2. Options(serial, option) Assuming we have only the following adornments for the two sources. • ubf for Autos ...
The Twelve-Tone Method of Musical Construction
... In all, the prime row can be altered in 47 ways, so that a composition based on a 12-tone row may actually use up to 48 different ‘rows’. However, certain rows (e.g. palindromic rows) produce matrices in which several of the transformed rows are identical. The row (7 9 11 1 3 5 6 4 2 0 10 8), for ex ...
... In all, the prime row can be altered in 47 ways, so that a composition based on a 12-tone row may actually use up to 48 different ‘rows’. However, certain rows (e.g. palindromic rows) produce matrices in which several of the transformed rows are identical. The row (7 9 11 1 3 5 6 4 2 0 10 8), for ex ...
1 Terms and Definitions Characteristics of Modern and Postmodern
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
... Characteristics of Modern and Postmodern Music Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music ...
Guidelines for the Analysis of Twentieth
... to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual transformation and change rather than return to formal stability. Material is often rad ...
... to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual transformation and change rather than return to formal stability. Material is often rad ...
Music - tl594
... Tempo-the pace at which a piece of music is performed Rhythm-the way a pattern of sound moves through time Pitch-the highness or lowness of a tone or sound Melody-a series of musical notes arranged one after another Harmony-sounding two or more tones at the same time Texture – the character of music ...
... Tempo-the pace at which a piece of music is performed Rhythm-the way a pattern of sound moves through time Pitch-the highness or lowness of a tone or sound Melody-a series of musical notes arranged one after another Harmony-sounding two or more tones at the same time Texture – the character of music ...
study guide
... FLAT- symbol lowering note ½ step. CONTEMPORARY- Debussy, Stravinsky, Weber. SONATO- Song based compositions solo with orch. CONCERTO- Contest between soloist & orch. SYMPHONY- Large orchestral work based on theme & variations. CHORALE- Homophonic choral work began in Baroque era. PHRASE- Musical st ...
... FLAT- symbol lowering note ½ step. CONTEMPORARY- Debussy, Stravinsky, Weber. SONATO- Song based compositions solo with orch. CONCERTO- Contest between soloist & orch. SYMPHONY- Large orchestral work based on theme & variations. CHORALE- Homophonic choral work began in Baroque era. PHRASE- Musical st ...
Network Interface Unit (NIU)
... This is particularly true for older legacy components where the interface is often bespoke and does not conform to any recognised international or national standards. Even where compatibility is claimed by equipment it is often only for part of a standard and the interface does not necessarily confo ...
... This is particularly true for older legacy components where the interface is often bespoke and does not conform to any recognised international or national standards. Even where compatibility is claimed by equipment it is often only for part of a standard and the interface does not necessarily confo ...
Notes for Class 3 - Midcoast Senior College
... A review of the “Post-Wagnerians” -- Mahler, Strauss, Schoenberg and his students Webern & Berg These composers build upon the legacy of late-19th century Romantic (Austro-German) music, which may be summarized as follows: (1) Music as highly “EXPRESSIVE” statement, very often PROGRAMMATIC (i.e. in ...
... A review of the “Post-Wagnerians” -- Mahler, Strauss, Schoenberg and his students Webern & Berg These composers build upon the legacy of late-19th century Romantic (Austro-German) music, which may be summarized as follows: (1) Music as highly “EXPRESSIVE” statement, very often PROGRAMMATIC (i.e. in ...
T-SYSTEM Savio Santoro* The Brazilian composer Tacuchian (b
... not work, but they did work, thanks to this system” (TACUCHIAN, 2005). The next major piece to employ both the T-chord and T-scale was the symphonic ballet Hayastan, his final doctoral project at the University of Southern California. Perceiving the positive aural results produced in these works as ...
... not work, but they did work, thanks to this system” (TACUCHIAN, 2005). The next major piece to employ both the T-chord and T-scale was the symphonic ballet Hayastan, his final doctoral project at the University of Southern California. Perceiving the positive aural results produced in these works as ...
Document
... concerto – a piece for a soloist and orchestra ternary form – music with three sections; usually Section A, flowed by a contrasting Section B, then Section A again theme and variations – a type of musical form in which a main melody (theme) is followed by different version of the theme (variations) ...
... concerto – a piece for a soloist and orchestra ternary form – music with three sections; usually Section A, flowed by a contrasting Section B, then Section A again theme and variations – a type of musical form in which a main melody (theme) is followed by different version of the theme (variations) ...
Wolfgang Amadeus Mozart (1756 – 1791)
... It became clear to Schoenberg that it was very difficult to keep a piece going for any length of time if it did not contain the key relationships and cadences that contribute so much to the structure of music written up to this time. Since a central idea of Schoenberg's work was that there should no ...
... It became clear to Schoenberg that it was very difficult to keep a piece going for any length of time if it did not contain the key relationships and cadences that contribute so much to the structure of music written up to this time. Since a central idea of Schoenberg's work was that there should no ...
20th Cent Definitions
... An equal division of time Works which make extensive use of quotations from earlier music Slight holding back or pressing forward of tempo to intensify the expression of the music How music moves through time; how the music sounds against even pulses An expansion of the 12-tone method that uses a sy ...
... An equal division of time Works which make extensive use of quotations from earlier music Slight holding back or pressing forward of tempo to intensify the expression of the music How music moves through time; how the music sounds against even pulses An expansion of the 12-tone method that uses a sy ...
Music of WWI
... studied at the St. Petersburg conservatory with famed Russian composer Nicolai Rimsky-Korsakov. Early in his career, he was commissioned to compose three ballets for the Ballet Russe. Other that “Rite of Spring” the other well known ballet composed by Stravinsky was “Partushka” which was considered ...
... studied at the St. Petersburg conservatory with famed Russian composer Nicolai Rimsky-Korsakov. Early in his career, he was commissioned to compose three ballets for the Ballet Russe. Other that “Rite of Spring” the other well known ballet composed by Stravinsky was “Partushka” which was considered ...
Six Bagatelles for String Quartet, Op. 9, No. 5 “Äußerst langsam
... such as Expressionism. In fact, “Nacht” from Pierrot lunaire is an atonal work, but we didn’t necessarily notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combin ...
... such as Expressionism. In fact, “Nacht” from Pierrot lunaire is an atonal work, but we didn’t necessarily notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combin ...
Music Terminology Articulation: How specific notes or passages are
... Harmony: Pleasing combination of two or three tones played together in the background while a melody is being played. ...
... Harmony: Pleasing combination of two or three tones played together in the background while a melody is being played. ...
Joseph N. Straus, Twelve-Tone Music in America
... After surveying the great range of styles and techniques that American twelve-tone composers have employed, Straus attempts to situate their music within broader theoretical and historical contexts. “Context” takes an unusual form, however: in Part Two, titled “American twelve-tone music in context, ...
... After surveying the great range of styles and techniques that American twelve-tone composers have employed, Straus attempts to situate their music within broader theoretical and historical contexts. “Context” takes an unusual form, however: in Part Two, titled “American twelve-tone music in context, ...
twelve-tone matrix/project
... a. Identify important relationships (e.g., combinatoriality, invariance) among these selected rows; indicate how these may be used in your piece. b. Develop several chord constructions and melodic lines based on cells (trichords, tetrachords, hexachords) within your selected rows. 2. Composition: Us ...
... a. Identify important relationships (e.g., combinatoriality, invariance) among these selected rows; indicate how these may be used in your piece. b. Develop several chord constructions and melodic lines based on cells (trichords, tetrachords, hexachords) within your selected rows. 2. Composition: Us ...
Throbbing Analysis - MLC Music eJournal
... which had just been built. J.S. Bach uses number imagery in his St Matthew Passion as (one of many techniques he uses, while Debussy uses the golden mean in his orchestral work La Mer. There ar ...
... which had just been built. J.S. Bach uses number imagery in his St Matthew Passion as (one of many techniques he uses, while Debussy uses the golden mean in his orchestral work La Mer. There ar ...
Twentieth Century New scales New chords (almost any combination
... Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, sometimes violent use of orchestra ...
... Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, sometimes violent use of orchestra ...
Sample History Placement Exam 2013
... [I have] no faith in the C major scale. The tonal scale must be enriched by other scales. Nor am I misled by equal temperament. Rhythms are stifling. Rhythms cannot be contained within bars. It is nonsense to speak of “simple” and “compound” time. There should be an interminable flow of both. Relati ...
... [I have] no faith in the C major scale. The tonal scale must be enriched by other scales. Nor am I misled by equal temperament. Rhythms are stifling. Rhythms cannot be contained within bars. It is nonsense to speak of “simple” and “compound” time. There should be an interminable flow of both. Relati ...
Twelve-Tone Technique.qxd
... Tonal music is bound by the traditional principles of cadences, modulations, diatonic scales, the functional hierarchy of scale degrees (tonic, dominant, subdominant, etc.), and so on. When writing atonal music, the composer has to leave behind many, if not all, of those traditional principles of to ...
... Tonal music is bound by the traditional principles of cadences, modulations, diatonic scales, the functional hierarchy of scale degrees (tonic, dominant, subdominant, etc.), and so on. When writing atonal music, the composer has to leave behind many, if not all, of those traditional principles of to ...