The figures of Musica poetica in Buxtehude`s Passacaglia in D minor
... of the text. Religious figures also saw the advantage in this arrangement. Martin Luther argued that music has the power and ability as an instrument of God to communicate the Gospel to the spirit of the listener.1) These viewpoints influenced music education in Germany for a very long time. In the ...
... of the text. Religious figures also saw the advantage in this arrangement. Martin Luther argued that music has the power and ability as an instrument of God to communicate the Gospel to the spirit of the listener.1) These viewpoints influenced music education in Germany for a very long time. In the ...
NGFL_Shost_movt_2_analysis
... Figures 17 - 18 explore the original tetrachord of a diminished 4th (i.e. Bª - E¨): note the cello in bar 68/9 with two statements of 2317 before moving to a steady crotchet bass line supporting the canon in the upper two parts. Also noteworthy is the compound diminished 4th between the violins at b ...
... Figures 17 - 18 explore the original tetrachord of a diminished 4th (i.e. Bª - E¨): note the cello in bar 68/9 with two statements of 2317 before moving to a steady crotchet bass line supporting the canon in the upper two parts. Also noteworthy is the compound diminished 4th between the violins at b ...
SEVENTH CHORDS Every triad can be extended by adding another
... Seventh chords can be inverted. A seventh chord is inverted if the bottom-most note, the bass, is not the root of the chord. Since there are four notes (instead of 3 in a triad), there is a root position and first, second and third inversion of a seventh chord. ...
... Seventh chords can be inverted. A seventh chord is inverted if the bottom-most note, the bass, is not the root of the chord. Since there are four notes (instead of 3 in a triad), there is a root position and first, second and third inversion of a seventh chord. ...
Unraveling Ravel - Macro Analysis Creative Research Organization
... section of his Prélude. This suggests a Baroque binary form, which is somewhat unusual for a prelude. The location of the two climaxes, one just before the first and second endings and the other just before the concluding material, corroborates the possibility of two large sections, that is, binary ...
... section of his Prélude. This suggests a Baroque binary form, which is somewhat unusual for a prelude. The location of the two climaxes, one just before the first and second endings and the other just before the concluding material, corroborates the possibility of two large sections, that is, binary ...
AOS 2 Gamelan
... for bringing people together and expressing their feelings in a culture which is not always possible to do so publicly. * The Gamelan is thought to be magical and spiritual – players treat their instruments with total respect and would never step over them as they believe they are tied to heaven and ...
... for bringing people together and expressing their feelings in a culture which is not always possible to do so publicly. * The Gamelan is thought to be magical and spiritual – players treat their instruments with total respect and would never step over them as they believe they are tied to heaven and ...
Lesson_SSS_-_Diatoni..
... the third of the now minor tonic, the upper voice leaps up to Cb in m. 26. That Cb is heard again in m. 27, though there it appears as a seventh above the new bass (Db). (This suspension is indicated with a tie in the reduction.) The pattern is then repeated in mm. 28-29, and again 30-31, leading ba ...
... the third of the now minor tonic, the upper voice leaps up to Cb in m. 26. That Cb is heard again in m. 27, though there it appears as a seventh above the new bass (Db). (This suspension is indicated with a tie in the reduction.) The pattern is then repeated in mm. 28-29, and again 30-31, leading ba ...
doc Art of Listening Midterm Notes
... - the aspect of music having to do with the duration of the notes in time; also applied to any particular durational pattern. - Refers to an actual arrangement of durations, long and short notes, in a particular melody. Recitation: Hocket: - the alteration of very short melodic phrases, or single no ...
... - the aspect of music having to do with the duration of the notes in time; also applied to any particular durational pattern. - Refers to an actual arrangement of durations, long and short notes, in a particular melody. Recitation: Hocket: - the alteration of very short melodic phrases, or single no ...
Grade 5 Module 2
... syllables while teacher points to the beat. • Make up rhythms on board and play or say them using rhythm syllables. • Use reading/writing materials in resource book. • Use rhythm flashcards. • Students compose and notate their own rhythm patterns. • Rhythm dictation (use stick notation) • Perform rh ...
... syllables while teacher points to the beat. • Make up rhythms on board and play or say them using rhythm syllables. • Use reading/writing materials in resource book. • Use rhythm flashcards. • Students compose and notate their own rhythm patterns. • Rhythm dictation (use stick notation) • Perform rh ...
Cross-cultural hybridity in music composition
... mode exclusively (in cipher notation, the pitches 1, 2, 3, 5 and 6), while others may use all seven pitches. Within the pentatonic mode, one pitch is central although it need not be pitch 1. In pieces which use six or seven note-modes, pitches 4 and 7 are often used only ornamentally, or are seconda ...
... mode exclusively (in cipher notation, the pitches 1, 2, 3, 5 and 6), while others may use all seven pitches. Within the pentatonic mode, one pitch is central although it need not be pitch 1. In pieces which use six or seven note-modes, pitches 4 and 7 are often used only ornamentally, or are seconda ...
consonances. (Unisons are rather hard to play on one pianot)
... division into phrases; mixture of steps, leaps, and repeated notes; the use of most important aspects of melody: other feature in common, quence; the unifying role played by rhythm; and overall shape. These melodies have memorable tune: Each is dominated by a keynote, tonic. An explanation of one th ...
... division into phrases; mixture of steps, leaps, and repeated notes; the use of most important aspects of melody: other feature in common, quence; the unifying role played by rhythm; and overall shape. These melodies have memorable tune: Each is dominated by a keynote, tonic. An explanation of one th ...
6. Michael Tippett Concerto for double string orchestra: movement I
... him the opportunity to conduct the first performance of the Concerto for Double String Orchestra in a benefit concert there on 21 April 1940 with The South London Orchestra, otherwise known as ‘Morley College Professional Orchestra’. This was an orchestra of unemployed musicians, many of them thrown ...
... him the opportunity to conduct the first performance of the Concerto for Double String Orchestra in a benefit concert there on 21 April 1940 with The South London Orchestra, otherwise known as ‘Morley College Professional Orchestra’. This was an orchestra of unemployed musicians, many of them thrown ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... prolongation. In contrast to the large octave leaps of the first half, the second half is much more compact, using only neighbour and stepwise motion until the rising arpeggiated cadence. The second half is also harmonically contrasting, using modal mixture in mm. 5 and 6 by lowering all C’s and G’s ...
... prolongation. In contrast to the large octave leaps of the first half, the second half is much more compact, using only neighbour and stepwise motion until the rising arpeggiated cadence. The second half is also harmonically contrasting, using modal mixture in mm. 5 and 6 by lowering all C’s and G’s ...
Composition.
... between ‘exact’ reproduction of existing pieces and creation of wholly ‘original’ works or performances. One motivation for formulations that approach one or the other extreme is to assert one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments ...
... between ‘exact’ reproduction of existing pieces and creation of wholly ‘original’ works or performances. One motivation for formulations that approach one or the other extreme is to assert one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments ...
view pdf. - Frank Carlberg
... repertoire reflecting the eclecticism and influence of Ran Blake. The next CD, The Crazy Woman, was of particular importance for Carlberg’s artistic development, as he began his extended quest in setting music to poetry. The material consisted of 11 original songs composed to texts by 20th century p ...
... repertoire reflecting the eclecticism and influence of Ran Blake. The next CD, The Crazy Woman, was of particular importance for Carlberg’s artistic development, as he began his extended quest in setting music to poetry. The material consisted of 11 original songs composed to texts by 20th century p ...
Symmetry in the First Movement of Martin Bresnick`s Piano Trio
... phrase. In other words, the relationship between the piano tones of phrase 7 and the notes that begin phrase 8 is the same as the relationship between the first 4-17 and the Ab fulcrum from phrase 1. A relationship that was played out within a phrase now moderates the deployment of pitches between p ...
... phrase. In other words, the relationship between the piano tones of phrase 7 and the notes that begin phrase 8 is the same as the relationship between the first 4-17 and the Ab fulcrum from phrase 1. A relationship that was played out within a phrase now moderates the deployment of pitches between p ...
File - Duncanrig Secondary School Faculty of Music and
... Round – where parts enter one after another, playing the exact same melody. Like singing “London’s Burning”! Organ – keyboard instrument usually found in churches. Usually has more than one keyboard. Ornament – short, extra notes added to decorate a melody. Repetition – a musical idea heard more th ...
... Round – where parts enter one after another, playing the exact same melody. Like singing “London’s Burning”! Organ – keyboard instrument usually found in churches. Usually has more than one keyboard. Ornament – short, extra notes added to decorate a melody. Repetition – a musical idea heard more th ...
Middle School Instrumental/Vocal GRADE: 7
... above or below the staff We will Identify and notate I, IV, V, V7, I chord progressions in a given key signature We will describe, using a minimum of four markings (articulation, dynamic and tempo), when analyzing a musical example ...
... above or below the staff We will Identify and notate I, IV, V, V7, I chord progressions in a given key signature We will describe, using a minimum of four markings (articulation, dynamic and tempo), when analyzing a musical example ...
Introduction to Music: Musical Forms
... three sections (ABA). The form was often used from the classical period onward as the basis for marches, minuets, scherzos, and independent works. This musical form could be considered a more structured version of Binary form. While in Binary form, it’s customary to repeat the first section (givin ...
... three sections (ABA). The form was often used from the classical period onward as the basis for marches, minuets, scherzos, and independent works. This musical form could be considered a more structured version of Binary form. While in Binary form, it’s customary to repeat the first section (givin ...
AS level Music - Edexcel
... Courtney Pine is a jazz musician and this is reflected in the use of harmony and texture in these tracks from his album “Back in the Day”. Pine’s harmonies make much use of extended chords, adding notes like 7ths, 9ths, and 11ths. This is a common feature in jazz, used by composers like Gershwin and ...
... Courtney Pine is a jazz musician and this is reflected in the use of harmony and texture in these tracks from his album “Back in the Day”. Pine’s harmonies make much use of extended chords, adding notes like 7ths, 9ths, and 11ths. This is a common feature in jazz, used by composers like Gershwin and ...
Simple Music Semiotic Analysis
... synaesthetic (adj.): relating to any type of perception using more than one of the five senses simultaneously ...
... synaesthetic (adj.): relating to any type of perception using more than one of the five senses simultaneously ...
D:\EIGENE~1\CHOROI~1\PROSPE~1\BORDUN~1\Bordunleier GB
... which even in their simplest form work with full effect. The same applies to the movements of voices or parts: the high and the low, the stationary and the mobile, the parallel and the crossing - all of these form that which we call the harmonic element. The strength of the motives and the thematic ...
... which even in their simplest form work with full effect. The same applies to the movements of voices or parts: the high and the low, the stationary and the mobile, the parallel and the crossing - all of these form that which we call the harmonic element. The strength of the motives and the thematic ...
Serialism in the Works of Charles Ives
... are indicated by brackets, and each chord has been labeled for convenience of description. The song begins with a statement of the original chord series, chords 1-7, repeated two or three times. Chords 1-6 are fourth-chords in parallel motion, and the series culminates in chord 7 by expanding into a ...
... are indicated by brackets, and each chord has been labeled for convenience of description. The song begins with a statement of the original chord series, chords 1-7, repeated two or three times. Chords 1-6 are fourth-chords in parallel motion, and the series culminates in chord 7 by expanding into a ...
For Unit 6: Further Musical Understanding
... modulating sequence based on music of bar 10. 3) Bars 24-26 – new version of Theme 2 now played by solo cello. 4) 2 bar cadence figure in B minor. 5) 2 bar descending sequence, repeated with more instruments. ...
... modulating sequence based on music of bar 10. 3) Bars 24-26 – new version of Theme 2 now played by solo cello. 4) 2 bar cadence figure in B minor. 5) 2 bar descending sequence, repeated with more instruments. ...
Ostinato
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.