Scelsi, De-composer
... seems that he experimented with all of these styles; in any case, the few works that survive from Scelsi’s earliest period show a mixture of influences with a dodecaphonic substratum.2 We know that all these musical styles eventually became problematic for him, probably at the same time that he faced ...
... seems that he experimented with all of these styles; in any case, the few works that survive from Scelsi’s earliest period show a mixture of influences with a dodecaphonic substratum.2 We know that all these musical styles eventually became problematic for him, probably at the same time that he faced ...
Strand A - Core Knowledge UK
... Recognise a steady beat, accents, and the downbeat; play a steady beat, a simple rhythm pattern, simultaneous rhythm patters, and syncopation patterns. Discriminate between fast and slow; gradually slowing down and getting faster; accelerando and ritardando. Discriminate between differences in pitch ...
... Recognise a steady beat, accents, and the downbeat; play a steady beat, a simple rhythm pattern, simultaneous rhythm patters, and syncopation patterns. Discriminate between fast and slow; gradually slowing down and getting faster; accelerando and ritardando. Discriminate between differences in pitch ...
Generalized Interval System and Its Applications
... in the book Generalized Musical Intervals and Transformations. In this book, he was especially fond of studying the concept of intervals and transformations and generalizing them beyond pitches in western scales to many other musical objects, including rhythms, timbres, and non western music scales. ...
... in the book Generalized Musical Intervals and Transformations. In this book, he was especially fond of studying the concept of intervals and transformations and generalizing them beyond pitches in western scales to many other musical objects, including rhythms, timbres, and non western music scales. ...
PDF - UNT Digital Library
... chords (name, type, and inversion). The tonal functions (dominant and subdominant) are related only to the tonic and, as a consequence, an analysis must resort to frequent modulation in order to explain chromatically-formed dominant-seventh type chords. 1J. N. Vincent, The Diatonic Modes in Modern ...
... chords (name, type, and inversion). The tonal functions (dominant and subdominant) are related only to the tonic and, as a consequence, an analysis must resort to frequent modulation in order to explain chromatically-formed dominant-seventh type chords. 1J. N. Vincent, The Diatonic Modes in Modern ...
Triads
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
search-effectiveness measures for symbolic music queries
... faulty recollection and that gross-contour searches often produce an excessive number of prospective matches. We have come to believe that scale-degree searches are overall the most robust for searching for tonal music incipits. Scale-degree searches tie for the most-used search type on Themefinder, ...
... faulty recollection and that gross-contour searches often produce an excessive number of prospective matches. We have come to believe that scale-degree searches are overall the most robust for searching for tonal music incipits. Scale-degree searches tie for the most-used search type on Themefinder, ...
Notes - Stanford University
... These notes were created as a set of lecture notes for a three-day seminar on the mathematics of music, intended to introduce topics in this area to the interested reader without assuming strong prerequisites in mathematics or music theory. They are not intended to be a comprehensive and technically ...
... These notes were created as a set of lecture notes for a three-day seminar on the mathematics of music, intended to introduce topics in this area to the interested reader without assuming strong prerequisites in mathematics or music theory. They are not intended to be a comprehensive and technically ...
Musical Harmony, Mathematics, and Esotericism
... as this is their true shape), allowing air to pass between the folds to create sound waves of the desired frequency. At the pitch of A4, the vocal folds would be opening and closing 440 times per second. Needless to say, the frequency of these muscular movements is performed in response to signals f ...
... as this is their true shape), allowing air to pass between the folds to create sound waves of the desired frequency. At the pitch of A4, the vocal folds would be opening and closing 440 times per second. Needless to say, the frequency of these muscular movements is performed in response to signals f ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... Indeed, they are hierarchically less important than the surrounding consonance, merely serving to connect them more smoothly. What emerges here is a second hierarchical principle: the relationship between consonance and dissonance. By learning how to write two-to-one counterpoint examples, we becom ...
... Indeed, they are hierarchically less important than the surrounding consonance, merely serving to connect them more smoothly. What emerges here is a second hierarchical principle: the relationship between consonance and dissonance. By learning how to write two-to-one counterpoint examples, we becom ...
The Rise of 6 in the Nineteenth Century
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
Intonation Variables in the Performance of Twelve
... temperament is considered in the light of findings that the intonation of string players and others tends to exhibit characteristics of Pythagorean tuning rather than of equal temperament. The nature of Pythagorean intonation with its enharmonic pitch distinctions (involving the Pythagorean comma) i ...
... temperament is considered in the light of findings that the intonation of string players and others tends to exhibit characteristics of Pythagorean tuning rather than of equal temperament. The nature of Pythagorean intonation with its enharmonic pitch distinctions (involving the Pythagorean comma) i ...
On the Origins of Schoenberg`s Sprechgesang in Pierrot Lunaire
... those aspects that he wishes to emphasize, and, in twentieth-century music, freely, even with deliberate exaggeration and distortion. Nevertheless, in Pierrot Lunaire, it turns out that Schoenberg remained quite close to the origins given above. The purpose of the present work is a deeper investigat ...
... those aspects that he wishes to emphasize, and, in twentieth-century music, freely, even with deliberate exaggeration and distortion. Nevertheless, in Pierrot Lunaire, it turns out that Schoenberg remained quite close to the origins given above. The purpose of the present work is a deeper investigat ...
CICLOTOM: A computer approach to generalized modal music
... mathematical structures applied to composition. Further, mathematical structures in Computer Music have become not only an occasional tool to generate new music, but common places to extract basic material and to developed new ideas. Part of early investigations on mathematical structures in music s ...
... mathematical structures applied to composition. Further, mathematical structures in Computer Music have become not only an occasional tool to generate new music, but common places to extract basic material and to developed new ideas. Part of early investigations on mathematical structures in music s ...
Absolute pitch
... to perform atonal music and theorists to follow large-scale tonal structures by ear), it can also be a hindrance (e.g. when playing or singing in a key other than written). Regarding relative pitch, musicians with tone-AP can be less skilled than other musicians, calculating intervals and chords fro ...
... to perform atonal music and theorists to follow large-scale tonal structures by ear), it can also be a hindrance (e.g. when playing or singing in a key other than written). Regarding relative pitch, musicians with tone-AP can be less skilled than other musicians, calculating intervals and chords fro ...
Music, Cognition, and Computerized Sound: Chap14
... sing an octave apart. In close harmony, as in a good barbershop quartet, we feel the impact of carefully sung musical intervals, one shading into another. But tones heard at the same time can interact, producing a noisy or dissonant sound. Such interaction is discussed in a small book written by Rei ...
... sing an octave apart. In close harmony, as in a good barbershop quartet, we feel the impact of carefully sung musical intervals, one shading into another. But tones heard at the same time can interact, producing a noisy or dissonant sound. Such interaction is discussed in a small book written by Rei ...
The Rosegarden Codicil: Rehearsing Music in Nineteen
... though there have been several subsequent studies (for example: Blackwood 1985 and 1991) which are more sophisticated mathematically and methodologically. The following quote from Mandelbaum’s introduction remains largely true forty-five years later: ‘In spite of the tremendous changes in musical ta ...
... though there have been several subsequent studies (for example: Blackwood 1985 and 1991) which are more sophisticated mathematically and methodologically. The following quote from Mandelbaum’s introduction remains largely true forty-five years later: ‘In spite of the tremendous changes in musical ta ...
Mathemusical Thought - LUC Sakai
... 2. Our pitches are divided into white notes and black notes, depending on which piano key they correspond to. 3. A single step along our sequence, from one pitch to the very next pitch (to the left or right, whether black or white) is called a half step. A distance of two steps along our sequence i ...
... 2. Our pitches are divided into white notes and black notes, depending on which piano key they correspond to. 3. A single step along our sequence, from one pitch to the very next pitch (to the left or right, whether black or white) is called a half step. A distance of two steps along our sequence i ...
Non-Chord Tones
... Anticipation cont. • The least common approach to the anticipation is by leap and then being left by leap. • This is referred to as a free anticipation. ...
... Anticipation cont. • The least common approach to the anticipation is by leap and then being left by leap. • This is referred to as a free anticipation. ...
Tonal desires
... 5. the “normalizing” of secundal harmony (minor and major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in ...
... 5. the “normalizing” of secundal harmony (minor and major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in ...
Fundamentals of Music G9-12
... Another way to think of major scales is as two tetra chords; that is, as two fournote patterns. As long as you reproduce the whole/half step pattern, you create a major scale from any pitch. Ancient Greeks, especially Plato, saw a strong connection between musical scales and human emotions. Musical ...
... Another way to think of major scales is as two tetra chords; that is, as two fournote patterns. As long as you reproduce the whole/half step pattern, you create a major scale from any pitch. Ancient Greeks, especially Plato, saw a strong connection between musical scales and human emotions. Musical ...
The Geometry of Musical Chords REPORTS
... permutationally symmetrical (P-symmetrical) because there is some nontrivial permutation of its notes that is a trivial voice leading. These chords lie on the singular boundaries of the orbifolds. Nearly P-symmetrical chords, such as AE, F, G>Z, are near these chords and contain several notes that a ...
... permutationally symmetrical (P-symmetrical) because there is some nontrivial permutation of its notes that is a trivial voice leading. These chords lie on the singular boundaries of the orbifolds. Nearly P-symmetrical chords, such as AE, F, G>Z, are near these chords and contain several notes that a ...
Area of Study 4
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
Melody In Carnatic Music
... of the saying, Srutir mata, or the melodic aspects. Any lover of Indian music would have definitely come across the word Raga. Needless to say, this concept is a very ancient one. But what exactly is it and how did it evolve? Before we go into it, we need to know some basic stuff. Let's start with t ...
... of the saying, Srutir mata, or the melodic aspects. Any lover of Indian music would have definitely come across the word Raga. Needless to say, this concept is a very ancient one. But what exactly is it and how did it evolve? Before we go into it, we need to know some basic stuff. Let's start with t ...
Frequency
... obtained by adding the two frequencies together and dividing by two. The rate at which the beats occur is merely the difference between the two actual frequencies. For example, suppose that two tones with frequencies of 440 Hz and 442 Hz are sounded together. These tones are separated by an interval ...
... obtained by adding the two frequencies together and dividing by two. The rate at which the beats occur is merely the difference between the two actual frequencies. For example, suppose that two tones with frequencies of 440 Hz and 442 Hz are sounded together. These tones are separated by an interval ...