![A Farewell to the Avant-garde— Krzesany by Wojciech Kilar](http://s1.studyres.com/store/data/003363470_1-6c92af51101e2da1b874411dafbc1bac-300x300.png)
A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... the mountains even in a somewhat mystical manner, à la Karłowicz; for example, to him, it is not out of the question that his love for them is associated with ‘the quite basic fact that mountains rise up high, and that physically, a person feels closer to the absolute, closer to God.’ 4 This reflect ...
... the mountains even in a somewhat mystical manner, à la Karłowicz; for example, to him, it is not out of the question that his love for them is associated with ‘the quite basic fact that mountains rise up high, and that physically, a person feels closer to the absolute, closer to God.’ 4 This reflect ...
GCSE Music AoS 3: Dance Music (Vol. 3)
... Did you know that the name Salsa literally means ʻsauceʼ? It is thought that the word was first used by the Cuban musician and band leader Ignacio Piñeiro, who would shout it out to his own band, asking them to play faster and with more heat, to spice up the music. (Latin American sauce is nearly al ...
... Did you know that the name Salsa literally means ʻsauceʼ? It is thought that the word was first used by the Cuban musician and band leader Ignacio Piñeiro, who would shout it out to his own band, asking them to play faster and with more heat, to spice up the music. (Latin American sauce is nearly al ...
Shifted Downbeats in Classic and Romantic
... notated measures; however, the grouping of half-note pulses into pairs negates the possibility of emphasizing a simple six-beat pattern. The pairings of half-note pulses produce whole-note pulses instead, which align themselves with a notated bar line only after four measures! These points of alignm ...
... notated measures; however, the grouping of half-note pulses into pairs negates the possibility of emphasizing a simple six-beat pattern. The pairings of half-note pulses produce whole-note pulses instead, which align themselves with a notated bar line only after four measures! These points of alignm ...
File
... Apagón: A manico of the right hand across the strings of the guitar or vihuela in such a way that no distinct pitches are heard; used primarily in the huapangos and borrowed from joropo; also called tapón and tope. Apoyadura: (appoggiatura) this denotes a lower neighbor grace note; the apoyadura is ...
... Apagón: A manico of the right hand across the strings of the guitar or vihuela in such a way that no distinct pitches are heard; used primarily in the huapangos and borrowed from joropo; also called tapón and tope. Apoyadura: (appoggiatura) this denotes a lower neighbor grace note; the apoyadura is ...
RECITAL and CONCERTO IN PIANO BY HANDEL, BEETHOVEN
... The chaconne is a solemn dance in triple meter and is also a type of polyphonic music. It is a set of variations on a repetitive bass-line or a repeated harmonic progression. It was very popular in the Baroque Period, and many composers used this form as the last movement of an opera. Handel’s Chaco ...
... The chaconne is a solemn dance in triple meter and is also a type of polyphonic music. It is a set of variations on a repetitive bass-line or a repeated harmonic progression. It was very popular in the Baroque Period, and many composers used this form as the last movement of an opera. Handel’s Chaco ...
mingus big band - University Musical Society
... released Blues and Politics focuses on some of Mingus’ more political pieces, as well as the blues at the heart of his music. This latest release lives up to the JazzTimes assertion that the Mingus Big Band is “the ...
... released Blues and Politics focuses on some of Mingus’ more political pieces, as well as the blues at the heart of his music. This latest release lives up to the JazzTimes assertion that the Mingus Big Band is “the ...
A Small Selection from among the Many Things that I Still Do Not
... researched genre of the Latin-texted solo motet of the early eighteenth century.6 The text basis and deployment of musical styles in early eighteenth century Lutheran cantatas and in the Catholic solo motets of the same and slightly earlier years are so similar that I was surprised to find that no o ...
... researched genre of the Latin-texted solo motet of the early eighteenth century.6 The text basis and deployment of musical styles in early eighteenth century Lutheran cantatas and in the Catholic solo motets of the same and slightly earlier years are so similar that I was surprised to find that no o ...
Aalborg Universitet Automatic Phrase Continuation from Guitar and Bass guitar Melodies
... In this section, we will introduce a new method to generate a pitch representation by unsupervised clustering. Although previous approaches have applied clustering to pitch Marxer et al. (2007), the novel feature of this work is that the number of clusters (pitches) is determined automatically. Foll ...
... In this section, we will introduce a new method to generate a pitch representation by unsupervised clustering. Although previous approaches have applied clustering to pitch Marxer et al. (2007), the novel feature of this work is that the number of clusters (pitches) is determined automatically. Foll ...
Music P1 MEMO ENG1
... You have studied the fourth movement of Brahms’s 4th Symphony. Answer the following questions. Answer: ...
... You have studied the fourth movement of Brahms’s 4th Symphony. Answer the following questions. Answer: ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction All songwriters will use harmony in some form or another. It is what makes up the harmonic footprint of a song. Chord sequences and melodies are the most recognisable parts of our songs, and can portray a wide range of moods and em ...
... MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction All songwriters will use harmony in some form or another. It is what makes up the harmonic footprint of a song. Chord sequences and melodies are the most recognisable parts of our songs, and can portray a wide range of moods and em ...
Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms
... Experimental rock forms often present a single climactic moment only at the song’s ending; some close with new material; and some do both, resulting in structures I call terminally climactic forms. As opposed to the other three formal types provided in Example 1, only TCFs feature the endings ...
... Experimental rock forms often present a single climactic moment only at the song’s ending; some close with new material; and some do both, resulting in structures I call terminally climactic forms. As opposed to the other three formal types provided in Example 1, only TCFs feature the
Vocal Techniques
... translation. There are many vocal techniques that can be used to assist with conveying and even enhancing the message within the lyrics. Several techniques overlap but there can be subtle differences. The following collection of vocal terms describes techniques that can be used to produce unique voc ...
... translation. There are many vocal techniques that can be used to assist with conveying and even enhancing the message within the lyrics. Several techniques overlap but there can be subtle differences. The following collection of vocal terms describes techniques that can be used to produce unique voc ...
Vocal Techniques
... Modulation: A music technique that changes tonic pitches within or between musical phrases. A singer must be aware of these modulations in order to shift their vocal tones to accommodate. Onomatopoeia: A word that imitates the source of the sound that it describes. For example a singer could emphasi ...
... Modulation: A music technique that changes tonic pitches within or between musical phrases. A singer must be aware of these modulations in order to shift their vocal tones to accommodate. Onomatopoeia: A word that imitates the source of the sound that it describes. For example a singer could emphasi ...
`Modality` and other short articles for EPMOW
... or Twin Peaks (evil omnipresent in a small town). It seems that the drone has deeper connotations on the Indian subcontinent. For example, Coomaraswamy (1995: 77-80) describes the tanpura, the droned string instrument of much raga music which is heard before, during and after the melody, as ‘the tim ...
... or Twin Peaks (evil omnipresent in a small town). It seems that the drone has deeper connotations on the Indian subcontinent. For example, Coomaraswamy (1995: 77-80) describes the tanpura, the droned string instrument of much raga music which is heard before, during and after the melody, as ‘the tim ...
LISTENING GUIDE
... Catholic Church from within. The Counter-Reformation had important consequences for music, as we will see. One technical change that may be noticed in late Renaissance music is the sound of the last chord at the end of sections. Until this time, final chords contained only the “perfect” intervals (o ...
... Catholic Church from within. The Counter-Reformation had important consequences for music, as we will see. One technical change that may be noticed in late Renaissance music is the sound of the last chord at the end of sections. Until this time, final chords contained only the “perfect” intervals (o ...
Week 15
... • Some reviewers said the new music had no relationship to music at all • 1913 performance of The Rite of Spring caused riot ...
... • Some reviewers said the new music had no relationship to music at all • 1913 performance of The Rite of Spring caused riot ...
Harmonic Techniques in Maurice Ravel`s Opera L
... At rehearsal 17, the opera begins its transition into childlike fantasy. The armchair and sofa, mere props until this point, become animated figures, singing about the behavior of the tempestuous Child. The music accompanies this transition with a short interjection by the bassoon, and then a highly ...
... At rehearsal 17, the opera begins its transition into childlike fantasy. The armchair and sofa, mere props until this point, become animated figures, singing about the behavior of the tempestuous Child. The music accompanies this transition with a short interjection by the bassoon, and then a highly ...
69s and pentatonics
... Used against a major chord or a dominant seventh built on the lowest note we get the 3 blues notes - the minor 7th, flattened 5th and the minor 3rd. Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scal ...
... Used against a major chord or a dominant seventh built on the lowest note we get the 3 blues notes - the minor 7th, flattened 5th and the minor 3rd. Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scal ...
Lindsey Steinbrunner
... plagal cadences, and authentic cadences without a leading tone. Sonorities are also modified. For example, tertian harmonies become ninth, eleventh, and thirteenth chords and the dissonances that are created have no obligation to resolve. Also, new sonorities such as quintal and quartal harmonies ar ...
... plagal cadences, and authentic cadences without a leading tone. Sonorities are also modified. For example, tertian harmonies become ninth, eleventh, and thirteenth chords and the dissonances that are created have no obligation to resolve. Also, new sonorities such as quintal and quartal harmonies ar ...
Music in the Renaissance
... These intervals could now be the basis of vertical sonorities, the foundation of triadic harmony. Odington’s solution, beyond merely pragmatic, relied on human experience and empiricism—a stance that would characterize Renaissance thought—over the mathematical rigor typical of medieval scholasticism ...
... These intervals could now be the basis of vertical sonorities, the foundation of triadic harmony. Odington’s solution, beyond merely pragmatic, relied on human experience and empiricism—a stance that would characterize Renaissance thought—over the mathematical rigor typical of medieval scholasticism ...
Sample Responses Q7 - AP Central
... good, fair, or poor against the given melody. C. Combine the two judgments to determine a phrase descriptor and number of points to award the phrase. II. Scoring Phrase 2 (0–2 points) A. Judge the BASS: 1. If everything is good, then obviously the bass is considered GOOD. 2. If the last note is good ...
... good, fair, or poor against the given melody. C. Combine the two judgments to determine a phrase descriptor and number of points to award the phrase. II. Scoring Phrase 2 (0–2 points) A. Judge the BASS: 1. If everything is good, then obviously the bass is considered GOOD. 2. If the last note is good ...
World Music
... modal, something else? Do you think it is improvised or fixed? Is it written down? ...
... modal, something else? Do you think it is improvised or fixed? Is it written down? ...
Musical dramaturgy in Jeux d`eau by Maurice Ravel
... the length of a single measure, α, γ and δ being arpeggiated figurations (γ also has some chromatic insertion) and β a tetrachord. In most cases, phrases span over the length of two measures. Generally, the leading melody is intoned by the upper voice and in many cases it is given to the left hand b ...
... the length of a single measure, α, γ and δ being arpeggiated figurations (γ also has some chromatic insertion) and β a tetrachord. In most cases, phrases span over the length of two measures. Generally, the leading melody is intoned by the upper voice and in many cases it is given to the left hand b ...
Haydn: Symphony No. 26 in D minor, `Lamentatione`: Movement I
... in octave(s) plus horns prolonging or doubling some notes. This prominent two-part texture is a reminder that in much Classical music interest is polarised between melody and bass, with other parts being just subsidiary ‘filling’. • Away from bars 1–8 and similar passages, we find mainly three-part ...
... in octave(s) plus horns prolonging or doubling some notes. This prominent two-part texture is a reminder that in much Classical music interest is polarised between melody and bass, with other parts being just subsidiary ‘filling’. • Away from bars 1–8 and similar passages, we find mainly three-part ...
Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
Ostinato
![](https://commons.wikimedia.org/wiki/Special:FilePath/Dido's_Lament_ground_bass.png?width=300)
In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's Boléro or Giorgio Moroder's I Feel Love.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.Within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A ""favorite technique of contemporary jazz writers"", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.