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 ...
Music Theory Combination Tones
... simply listened to, over and over, with no predicted outcome, and any additional pitches ( with the exception of 8ves and P5ths rationalized as 2nd, 3rd, and 4th harmonics) notated in music notation. Note, in many cases the perceived additional tones were quarter tones out from equal tempered pitche ...
... simply listened to, over and over, with no predicted outcome, and any additional pitches ( with the exception of 8ves and P5ths rationalized as 2nd, 3rd, and 4th harmonics) notated in music notation. Note, in many cases the perceived additional tones were quarter tones out from equal tempered pitche ...
Non-Harmonic Tones Harmonic Tones
... Guide to NonNon-Harmonic Tones Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Mos ...
... Guide to NonNon-Harmonic Tones Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Mos ...
On the Emergence of the Major-Minor System
... scales. The cross-cultural validity of the pitch-schema concept remains to be thoroughly investigated. Although not all cultures make use of stable pitch-related patterns, most do, and many musical cultures exhibit some sort of hierarchical organization with some pitches being more prominent than ot ...
... scales. The cross-cultural validity of the pitch-schema concept remains to be thoroughly investigated. Although not all cultures make use of stable pitch-related patterns, most do, and many musical cultures exhibit some sort of hierarchical organization with some pitches being more prominent than ot ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... 7) an artistic desire to create beautiful sounds 8) sensitivity to melodic and harmonic influences. The importance of the first seven points is commonly understood. The eighth point, sensitivity to melodic and harmonic influences, is generally not so well understood, however. Hopefully the following ...
... 7) an artistic desire to create beautiful sounds 8) sensitivity to melodic and harmonic influences. The importance of the first seven points is commonly understood. The eighth point, sensitivity to melodic and harmonic influences, is generally not so well understood, however. Hopefully the following ...
(pdf)
... The chromatic scale and diatonic scale are two sets of musical notes which form a basis for much of western music. Another way to understand these structures, besides the classical music theory approach, is to represent them as groups, and then to depict them as graphs called the Generalized Tonnetz ...
... The chromatic scale and diatonic scale are two sets of musical notes which form a basis for much of western music. Another way to understand these structures, besides the classical music theory approach, is to represent them as groups, and then to depict them as graphs called the Generalized Tonnetz ...
PDF text - Music Theory Online
... [5] My discussion focuses on the formation of cohesive sonorities that emerge as subdivisions of a musical texture. I pursue it in terms of recent research into auditory scene analysis (ASA). Over the past three decades, a number of psychologists and musicians have investigated a problem most extens ...
... [5] My discussion focuses on the formation of cohesive sonorities that emerge as subdivisions of a musical texture. I pursue it in terms of recent research into auditory scene analysis (ASA). Over the past three decades, a number of psychologists and musicians have investigated a problem most extens ...
Pitch, tonality, and the missing fundamentals of music cognition
... Is this dynamic (higher-arousal) negativity? afraid, angry, tense, frustrated… ...
... Is this dynamic (higher-arousal) negativity? afraid, angry, tense, frustrated… ...
Comparison of Interval Size in Equal Temperament and Just Tuning
... Loosen, Franz. “The Effect of Musical Experience on the Conception of Accurate Tuning.” Music Perception, Spring 1995, 291306. Violinists, pianists, and nonmusicians evaluated scales in various tuning systems. Results showed that violinists preferred Pythagorean scales to equaltempered scales ...
... Loosen, Franz. “The Effect of Musical Experience on the Conception of Accurate Tuning.” Music Perception, Spring 1995, 291306. Violinists, pianists, and nonmusicians evaluated scales in various tuning systems. Results showed that violinists preferred Pythagorean scales to equaltempered scales ...
Matching in Graphs - Temple University
... algorithm which solves the assignment problem in polynomial time. It was developed and published by Harold Kuhn in 1955, who gave the name "Hungarian method" because the algorithm was largely based on the earlier works of two Hungarian mathematicians: Dénes Kőnig and Jenő Egerváry. James Munkres re ...
... algorithm which solves the assignment problem in polynomial time. It was developed and published by Harold Kuhn in 1955, who gave the name "Hungarian method" because the algorithm was largely based on the earlier works of two Hungarian mathematicians: Dénes Kőnig and Jenő Egerváry. James Munkres re ...
Matching in Graphs - CIS @ Temple University
... algorithm which solves the assignment problem in polynomial time. It was developed and published by Harold Kuhn in 1955, who gave the name "Hungarian method" because the algorithm was largely based on the earlier works of two Hungarian mathematicians: Dénes Kőnig and Jenő Egerváry. James Munkres re ...
... algorithm which solves the assignment problem in polynomial time. It was developed and published by Harold Kuhn in 1955, who gave the name "Hungarian method" because the algorithm was largely based on the earlier works of two Hungarian mathematicians: Dénes Kőnig and Jenő Egerváry. James Munkres re ...
decision analysis - Temple University
... There are n choices for the first assignment, n-1 choices for the second assignment and so on, giving n! possible assignment sets. Therefore, this approach has, at least, an exponential runtime complexity. ...
... There are n choices for the first assignment, n-1 choices for the second assignment and so on, giving n! possible assignment sets. Therefore, this approach has, at least, an exponential runtime complexity. ...
decision analysis - CIS @ Temple University
... There are n choices for the first assignment, n-1 choices for the second assignment and so on, giving n! possible assignment sets. Therefore, this approach has, at least, an exponential runtime complexity. ...
... There are n choices for the first assignment, n-1 choices for the second assignment and so on, giving n! possible assignment sets. Therefore, this approach has, at least, an exponential runtime complexity. ...
The Tetrachord (Ancient)
... pg234: “Aristides Quintilianus expressly states that voices did not span more than two octaves. For this reason he adds that Dorian was the only key sung in its total range. … Lyre players had similar limitations. … The consequences are that music space, vague and shapeless in our music, became a pa ...
... pg234: “Aristides Quintilianus expressly states that voices did not span more than two octaves. For this reason he adds that Dorian was the only key sung in its total range. … Lyre players had similar limitations. … The consequences are that music space, vague and shapeless in our music, became a pa ...
chromatic scale
... Relative Relationship – A major and a minor scale that have the same key signature are said to be in a relative relationship. To find the relative minor of any major scale, proceed to the sixth degree of the scale. This tone is the tonic in the relative minor. Parallel Relationship – A major and a ...
... Relative Relationship – A major and a minor scale that have the same key signature are said to be in a relative relationship. To find the relative minor of any major scale, proceed to the sixth degree of the scale. This tone is the tonic in the relative minor. Parallel Relationship – A major and a ...
INTERVALS INTERVAL size and quality
... The P4 is sometimes consonant and sometimes dissonant. In early music, P4 was a consonance and with other perfect intervals made up most of music compositions. Later, when using complete triads, the 4th tended to lose some of its stability and consonance (sounded like active tone between 5th and 3rd ...
... The P4 is sometimes consonant and sometimes dissonant. In early music, P4 was a consonance and with other perfect intervals made up most of music compositions. Later, when using complete triads, the 4th tended to lose some of its stability and consonance (sounded like active tone between 5th and 3rd ...
CIS 3000 Intervals Tutorial
... Being able to understand intervals and their properties is crucial when creating harmonies. When we’re composing within a certain scale (or key) it’s often useful to think of intervals simply in terms of the difference in scale degrees. A good exercise is to try is harmonizing a melody by simply add ...
... Being able to understand intervals and their properties is crucial when creating harmonies. When we’re composing within a certain scale (or key) it’s often useful to think of intervals simply in terms of the difference in scale degrees. A good exercise is to try is harmonizing a melody by simply add ...
Funki - QuT – Exploring ChromatiCism through Composition
... According to Dyson and Drabkin (2006) that “In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the passage is written.” Music theorists such as Pertitu (2007), Baker, J. (1993), Boatwright, H. (1994) an ...
... According to Dyson and Drabkin (2006) that “In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the passage is written.” Music theorists such as Pertitu (2007), Baker, J. (1993), Boatwright, H. (1994) an ...
The Musical Idea and the Basic Image in an Atonal Song
... avoid hearing hierarchical structures that extend all the way to a “background” in Schoenberg’s music, I do find it useful at times to refer to pitch and interval successions that reside one or two levels back from the surface. Thus it would be appropriate to say something about how I distinguish be ...
... avoid hearing hierarchical structures that extend all the way to a “background” in Schoenberg’s music, I do find it useful at times to refer to pitch and interval successions that reside one or two levels back from the surface. Thus it would be appropriate to say something about how I distinguish be ...
Appendix 1
... Minor scale A pattern of seven notes in three different forms: natural (pure), harmonic and melodic. All three forms share the same key signature and the first five notes. Modal music A musical system based on the church modes. Moderato It. A moderate tempo. Modes The seven-note medieval “church” sc ...
... Minor scale A pattern of seven notes in three different forms: natural (pure), harmonic and melodic. All three forms share the same key signature and the first five notes. Modal music A musical system based on the church modes. Moderato It. A moderate tempo. Modes The seven-note medieval “church” sc ...
Melody
... to half steps as the smallest interval. Microtones (lying between the tones of a half step) color the sound of much of the world’s music, and intervals and scales of seemingly unlimited variety form the melodic basis of much of the world’s music. According to Chinese legend, the notes, or lus, with ...
... to half steps as the smallest interval. Microtones (lying between the tones of a half step) color the sound of much of the world’s music, and intervals and scales of seemingly unlimited variety form the melodic basis of much of the world’s music. According to Chinese legend, the notes, or lus, with ...
full PDF text of Leach 2006
... only the singer (who would depart from the regular theoretically sanctioned steps within the octave) but also the listener (whose moral fiber would be mollified by such unethical semitones). The “leading note” also became associated with another aspect that dominates the orientalist music of later c ...
... only the singer (who would depart from the regular theoretically sanctioned steps within the octave) but also the listener (whose moral fiber would be mollified by such unethical semitones). The “leading note” also became associated with another aspect that dominates the orientalist music of later c ...
Russian Pitch-Class Set Analysis and the Music of Webern
... Anton Vebern (Anton Webern) and Muzyka Veberna (The Music of Webern), which were finally published in 1984 and 1999, respectively.14 Kholopova first presented their findings to the Union of Composers of the USSR in the early 1970s, and then published a follow-up article in 1973.15 In the article she ...
... Anton Vebern (Anton Webern) and Muzyka Veberna (The Music of Webern), which were finally published in 1984 and 1999, respectively.14 Kholopova first presented their findings to the Union of Composers of the USSR in the early 1970s, and then published a follow-up article in 1973.15 In the article she ...
learning absolute pitch by children:a cross-sectional study
... (Miyazaki, 1990). Procedure. The test sessions were conducted in a lesson room. There were two experimental sessions, the first for piano tones and the second for electronic-organ tones. The test session for the electronic-organ was not carried out for all children of 4 years, because they appeared ...
... (Miyazaki, 1990). Procedure. The test sessions were conducted in a lesson room. There were two experimental sessions, the first for piano tones and the second for electronic-organ tones. The test session for the electronic-organ was not carried out for all children of 4 years, because they appeared ...