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... In the following I want to discuss some of the aesthetic ramifications of key concepts surrounding musical copyright law. As a musicologist without legal training, my objective is not to attribute copyright or uncover copyright infringement in particular or, indeed, to debate legal concepts and pra ...
... In the following I want to discuss some of the aesthetic ramifications of key concepts surrounding musical copyright law. As a musicologist without legal training, my objective is not to attribute copyright or uncover copyright infringement in particular or, indeed, to debate legal concepts and pra ...
Music Theory answers
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
An Analysis of Theme and Variations for Orchestra
... Though it is true that most of the work is conceived horizontally, with the exception of the third, sixth, -and eighth variations, most of the variations are the result of mixed har monic and contrapuntal writing in which contra puntal lines are ·woven -through vertical harmonic structures which in ...
... Though it is true that most of the work is conceived horizontally, with the exception of the third, sixth, -and eighth variations, most of the variations are the result of mixed har monic and contrapuntal writing in which contra puntal lines are ·woven -through vertical harmonic structures which in ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... Breaking up a subject into segments, any one of which may form the basis for further development. Extending a phase beyond its expected length, often by repeating a measure, adding more material, or evading the cadence.. ...
... Breaking up a subject into segments, any one of which may form the basis for further development. Extending a phase beyond its expected length, often by repeating a measure, adding more material, or evading the cadence.. ...
M100: Music Appreciation Discussion Group Tuesday January 29
... • If it sounds like beats have been grouped together in two-beat (or four-beat) patterns, then the music is said to be in duple meter (or “quadruple meter”—for the purposes of this course quadruple meter will be treated as equal to duple meter). • If it sounds like the beats have been grouped in thr ...
... • If it sounds like beats have been grouped together in two-beat (or four-beat) patterns, then the music is said to be in duple meter (or “quadruple meter”—for the purposes of this course quadruple meter will be treated as equal to duple meter). • If it sounds like the beats have been grouped in thr ...
Kind of Blue modal jazz SAMUEL BARRETT Abstract
... inseparable from social and political circumstance it was (and is) the blues. The title of the album accordingly points away from conventional considerations of the rise of ‘modal’ jazz to the wider rise to popularity of blues idioms in the 1950s. The implications of this proposed shift in focus can ...
... inseparable from social and political circumstance it was (and is) the blues. The title of the album accordingly points away from conventional considerations of the rise of ‘modal’ jazz to the wider rise to popularity of blues idioms in the 1950s. The implications of this proposed shift in focus can ...
`Sing We At Pleasure` Thomas Weelkes
... Generally parts have different rhythms: o employing a freer homophonic style than in chordal or homorhythmic writing, as at the end of the first ‘fa-la’ o but more frequently in counterpoint. · Counterpoint commonly involves imitation, usually in sopranos 1 and 2 and/or tenor and bass. · The two sop ...
... Generally parts have different rhythms: o employing a freer homophonic style than in chordal or homorhythmic writing, as at the end of the first ‘fa-la’ o but more frequently in counterpoint. · Counterpoint commonly involves imitation, usually in sopranos 1 and 2 and/or tenor and bass. · The two sop ...
Statistical analysis of a music database to investigate historical
... dissonance (C/D). Assuming that consonant tone combinations generally occur more often than dissonant, we evaluated C/D by analyzing a representative database of unaccompanied vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitche ...
... dissonance (C/D). Assuming that consonant tone combinations generally occur more often than dissonant, we evaluated C/D by analyzing a representative database of unaccompanied vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitche ...
African American Traditions at CTM
... With guitarists being the strongest contingent among African American performers represented at the CTM and with my 14-year struggle to learn a number of styles of African American guitar music including alternating-thumb picking styles typically associated with Appalachia, I like to imagine that I ...
... With guitarists being the strongest contingent among African American performers represented at the CTM and with my 14-year struggle to learn a number of styles of African American guitar music including alternating-thumb picking styles typically associated with Appalachia, I like to imagine that I ...
Wolfgang Amadeus Mozart (1756 – 1791)
... He began composing pieces as a child, mostly teaching himself musical theory through reading books and experimenting - he didn't have any lessons in composition until his late teens. When he started writing music professionally towards the end of the 19th century, he wrote in the style of the late R ...
... He began composing pieces as a child, mostly teaching himself musical theory through reading books and experimenting - he didn't have any lessons in composition until his late teens. When he started writing music professionally towards the end of the 19th century, he wrote in the style of the late R ...
Music Theory answers
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
AOSA Curriculum Glossary - American Orff
... These dances are intrinsic to and expressions of a particular culture. Some ethnic dances are folk or social dance; others were originally court dances that played a vital role in the ruling aristocracy in many countries. Many court dances tell stories, legends, myths, and are important to the cultu ...
... These dances are intrinsic to and expressions of a particular culture. Some ethnic dances are folk or social dance; others were originally court dances that played a vital role in the ruling aristocracy in many countries. Many court dances tell stories, legends, myths, and are important to the cultu ...
here - Springburn Academy
... Cadenza – A passage of music which allows soloists to display their technical ability in singing or playing an instrument. Performers used to improvise cadenzas themselves but eventually composers began to write them into the score. In a concerto the end of the cadenza is marked by a dominant 7th ch ...
... Cadenza – A passage of music which allows soloists to display their technical ability in singing or playing an instrument. Performers used to improvise cadenzas themselves but eventually composers began to write them into the score. In a concerto the end of the cadenza is marked by a dominant 7th ch ...
Let`s start! - WordPress.com
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
to file about classical music.
... 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many. While some suggest that he was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and t ...
... 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many. While some suggest that he was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and t ...
44. Jerry Goldsmith Planet of the Apes: The Hunt (opening)
... 1-10: Dramatic introduction of two of the main motifs (Bar 1- C in piano and timpani, then CC#C#-F# in woodwind) – don’t forget cor anglais sounds a perfect 5th lower than written. This bar of music occurs no fewer than 6 times in the first 7 bars. Bar 4 chromatic piano motif in 8ves (extended in Ba ...
... 1-10: Dramatic introduction of two of the main motifs (Bar 1- C in piano and timpani, then CC#C#-F# in woodwind) – don’t forget cor anglais sounds a perfect 5th lower than written. This bar of music occurs no fewer than 6 times in the first 7 bars. Bar 4 chromatic piano motif in 8ves (extended in Ba ...
Concepts for the Music Theory Sections of the Graduate Preliminary
... tonic (diatonic triad built on scale step 1) supertonic (diatonic triad built on scale step 2) mediant (diatonic triad built on scale step 3) subdominant (diatonic triad built on scale step 4) dominant (diatonic triad built on scale step 5) submediant (diatonic triad built on scale step 6) leading t ...
... tonic (diatonic triad built on scale step 1) supertonic (diatonic triad built on scale step 2) mediant (diatonic triad built on scale step 3) subdominant (diatonic triad built on scale step 4) dominant (diatonic triad built on scale step 5) submediant (diatonic triad built on scale step 6) leading t ...
Orchestral Texture and Unison Composition
... combinations of the instruments used and the respective sounds that they produce will support each other to bring out the melody and the texture of the music. A novice orchestrator will find it tempting to employ too much of the vast array of sounds available from the orchestra at one time or lack t ...
... combinations of the instruments used and the respective sounds that they produce will support each other to bring out the melody and the texture of the music. A novice orchestrator will find it tempting to employ too much of the vast array of sounds available from the orchestra at one time or lack t ...
7609.01 A2 (Part 2) Written Paper (Summer 2012).indd
... the double bar, like choral recitation Sweet honey sucking bees, the SSATB texture is reduced much of the time to SSAT for 19 bars and the work includes quite a few trios his use of repetition and especially of sequences ...
... the double bar, like choral recitation Sweet honey sucking bees, the SSATB texture is reduced much of the time to SSAT for 19 bars and the work includes quite a few trios his use of repetition and especially of sequences ...
Geometry of Harmony and Modes in Vaughan Williams` Romanza
... An important aspect of Romanza is its use of modes for various folk-like melodies, which occur in rapid sequence throughout the piece. This modal aspect of Romanza is frequently cited. See, e.g., the books by Lionel Pike (2003) and Elliott Schwartz (1964). Here, we will identify some of the modes us ...
... An important aspect of Romanza is its use of modes for various folk-like melodies, which occur in rapid sequence throughout the piece. This modal aspect of Romanza is frequently cited. See, e.g., the books by Lionel Pike (2003) and Elliott Schwartz (1964). Here, we will identify some of the modes us ...
59. Gong Kebyar de Sebatu (Bali) Baris Melampahan
... fourth (Kempli) beat of each bar in the written score all tuned metallophones play note 2 of the scale (as well as being an important moment in each rhythmic cycle this is also a very useful aural ‘marker’ to aid listening to the recording whilst following the score). The rest of the cycle generally ...
... fourth (Kempli) beat of each bar in the written score all tuned metallophones play note 2 of the scale (as well as being an important moment in each rhythmic cycle this is also a very useful aural ‘marker’ to aid listening to the recording whilst following the score). The rest of the cycle generally ...
Music 231 Motive
... rest, or 3) contrasting material. Usually, the repetition of a motive immediately follows its first appearance. Occasionally, contrasting material may forestall the repetition—but the motive will always be heard again at a later point in time. Germ Sometimes a longer motive can be heard as the summa ...
... rest, or 3) contrasting material. Usually, the repetition of a motive immediately follows its first appearance. Occasionally, contrasting material may forestall the repetition—but the motive will always be heard again at a later point in time. Germ Sometimes a longer motive can be heard as the summa ...
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.