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08_chapter - ii
08_chapter - ii

... It was widely used even before the modern classification of ragas which came into existence. The references from Chilappathikaram proves that Mohana was widely used during the period as early as the 2 nd century A.D. The phrases of the raga was used right from the time of or even before the present ...
Dissonant Harmony and “Seed-Tones”
Dissonant Harmony and “Seed-Tones”

... almost a century. Even though Rudhyar’s importance in the development of American music has been increasingly acknowledged by historians in the past two decades, his compositions have still received only the most superficial attention. Some of this neglect may result from Rudhyar's musical language ...
Nicola Vicentino and the Enharmonic Diesis
Nicola Vicentino and the Enharmonic Diesis

... sources. I will then discuss Vicentino‟s adaptation of the Greek genera, his theory of interval affect, and the features of his 31-tone tuning system. The discussion will focus on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. C ...
A Performance Guide to Etüden für Flöte(n) solo by Isang Yun
A Performance Guide to Etüden für Flöte(n) solo by Isang Yun

... attended the International Summer Courses of Contemporary Music in Darmstadt. It was during his time in Berlin that he met some of the most important avant-garde composers working in Europe, including Karlheinz Stockhausen, Pierre Boulez, and John Cage.4 Isang Yun’s aim as a composer was to provide ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER

... Toward the end of this study, I consider the metaphoric fit of this perceived inconstancy and colorful imprecision for a work entitled ―The Sea.‖ Whether or not the linkage is ultimately successful, let me acknowledge at the outset that the conception of musical analysis offered by example in this d ...
Extended performance techniques and compositional style in the
Extended performance techniques and compositional style in the

... style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vib ...
An analysis of and conductor`s guide to Vincent Persichetti`s
An analysis of and conductor`s guide to Vincent Persichetti`s

... The purpose of this study is to provide a detailed analysis of Vincent Persichetti’s Masquerade for Band, which will include a conductor’s guide focusing upon both technical and interpretive aspects, a brief biography of Vincent Persichetti, and background information pertaining to the creation of t ...
Challenging Notions of Tessitura: Its Identification and Redefinition
Challenging Notions of Tessitura: Its Identification and Redefinition

... opera, the close proximity of the two women's vocal lines surprised me. If I had been pressed to discuss the differences reflected by their melodies. where would I begin? Though this opera was the result of a novice at work. Verdi before Nabucco. I nonetheless began to think about the term tess;tura ...
scale networks and debussy
scale networks and debussy

... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
Dohnányi`s American Years, 1949–1960
Dohnányi`s American Years, 1949–1960

... my analysis to show that the hidden narrative in the work is based on this gesture of a homecoming from a foreign world. The Concertino is the only work that shows new features in its texture, which may be the most basic layer of musical thinking. For the thematic transformation reminds the listener ...
music-10th-edition-kamien-test-bank
music-10th-edition-kamien-test-bank

... 37. Pizzicato is an indication to the performer to A. draw the bow across two strings at the same time. B. repeat tones by quick up-and-down strokes of the bow. C. veil or muffle the tone by fitting a clamp onto the bridge. D. pluck the string with the finger instead of using the bow. 38. When the ...
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its

... Figure 2-2. Excerpt 1 from Basic Elements of My Musical Language…………………..15 Figure 2-3. Construction of the Major-Minor Tetra/Chord and the Mode I Tetrachord...16 Figure 2-4. Excerpt 2 from Basic Elements of My Musical Language…………..………17 Figure 2-5. Excerpt 3 from Basic Elements of My Musical Langu ...
Microtones - Matt Swallow Saxophone
Microtones - Matt Swallow Saxophone

... expression…  I  use  them  mostly  during  moments  of  greatest  intimate  expression.    The  half   step  is  already  expressive,  but  if  it  is  divided  by  two,  it  becomes  as  expressive  therefore   more  intimate.”    -­ ...
Seventh Chords
Seventh Chords

... PGCC Music Theory - 65 ...
At The Cutting Edge: Three American Theorists at The End of The
At The Cutting Edge: Three American Theorists at The End of The

... systems from musical practice and directly applying them to logically-derived pedagogical constructs. Here again they responded, as a group, well in advance of European theorists to the prevailing situation.14 ignored for these reasons. Vincent's tonal system, based on symmetrical major- and minor-t ...
Ancient Greek Music: A Technical History by Stefan Hagel
Ancient Greek Music: A Technical History by Stefan Hagel

... made, context indicates that melodies can move from one of these ‘ranges’ or τόνοι to another. Such movement will count as the kind of μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘mod ...
THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO
THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO

... virtuoso and composed works for the horn's solo repertoire, such as the Nocturno. J.S. Bach and Beethoven were themselves also performer-composers, with regards to particular subsets of their compositional output. The organ and keyboard works of Bach, including numerous toccatas, preludes, chorale p ...
a multipitch approach to tonic identification in indian
a multipitch approach to tonic identification in indian

... most frequent notes in the recording and their rate of occurrence. For example, in the excerpt in Figure 3, the drone plays the tonic alongside the lower and upper fifth. Thus, a fifth relationship between two frequent notes might serve as a good indicator for the tonic. In the study of Western mus ...
Dynamic Tonality - William A. Sethares
Dynamic Tonality - William A. Sethares

... each other sounds a given musical interval. For example, in Figure 2 below, pressing any two buttons that are horizontally adjacent sounds the interval of a major second. The shape of the imaginary line connecting the centers of those two buttons is the button-field shape of the major second. If a g ...
File - Bill Troxler
File - Bill Troxler

... Scales arrange their pitches in a specific order Number In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classi ...
Book 3 - Advanced
Book 3 - Advanced

... became known as the mean tempered scale. During the 18th century, J.S. Bach, using the mean tempered scale, produced a series of ‘piano pieces’ which were structured so that in each, a different semitone was used as the tonic. The ‘piano pieces’ were written in both major and minor modes. ...
A Mathematical Model for Optimal Tuning Systems
A Mathematical Model for Optimal Tuning Systems

... intervals—they are easily heard, measured, and produced, and are likely candidates to function as generators for larger sets of intervals. As a consequence, the mistuning of such “important” intervals may be of greater concern. Even in 12-ET, this hierarchy exists: the octave is exactly 2/1, the fif ...
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA
AN INTRODUCTION TO THE CLASSICAL MUSIC OF INDIA

... threads, which lends to the creation of a unique set of harmonics of each of the notes produced by the strings. Additional notes are also generated by the combination of the basic notes produced by the strings. This effect, coupled with the resonance created by the chamber, gives the sound of the in ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of

... rhythm, nor where funeral and tearful matter are treated is he permitted to use a joyful harmony…He who has studied what I have written in Part III [concerning composition] and has considered the nature of the mode in which he wishes to write his composition will, I think, know precisely how to do t ...
ars combinatoria in selected works of cpe bach
ars combinatoria in selected works of cpe bach

... of the most influential composers, authors, teachers, and performers in the musical world of the eighteenth ~entury. He was, of ...
1 2 3 4 5 ... 29 >

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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