COMPOSERS AND THEIR MUSIC NO.1: OLIVIER MESSIAEN 1908
... years, he started piano lessons, playing pieces that he bought from the town's large music shop, Deshairs. He would take any opportunity to get musical scores, receiving them as presents, but also saving money to buy them. One work that he bought and loved immensely, was Grieg's Peer Gynt ; influenc ...
... years, he started piano lessons, playing pieces that he bought from the town's large music shop, Deshairs. He would take any opportunity to get musical scores, receiving them as presents, but also saving money to buy them. One work that he bought and loved immensely, was Grieg's Peer Gynt ; influenc ...
complete program notes
... The process of arranging these pieces varied considerably from one piece to another. In all cases, original recordings (when available) and subsequent authoritative interpretations were carefully reviewed in all aspects: core melodic and harmonic content; the evolution of phrasing, articulation and ...
... The process of arranging these pieces varied considerably from one piece to another. In all cases, original recordings (when available) and subsequent authoritative interpretations were carefully reviewed in all aspects: core melodic and harmonic content; the evolution of phrasing, articulation and ...
Anton Bruckner - Holy Minimalist
... The use of motivic material and its manipulation is part and parcel of the whole Northern European musical tradition. Bruckner received and advanced this inheritance. Brahms makes similar moves, and in this light minimalism draws on these techniques of reduction, repetition and variation (or lack of ...
... The use of motivic material and its manipulation is part and parcel of the whole Northern European musical tradition. Bruckner received and advanced this inheritance. Brahms makes similar moves, and in this light minimalism draws on these techniques of reduction, repetition and variation (or lack of ...
Crossing Over in the 21st Century - Trace: Tennessee Research and
... music theoretical, structural and formal analysis to determine aspects of genre, to identify specific characteristics that mark compositions as classical, and to place them into particular categories or sub-categories. While these types of analysis can prove useful for establishing aspects of style ...
... music theoretical, structural and formal analysis to determine aspects of genre, to identify specific characteristics that mark compositions as classical, and to place them into particular categories or sub-categories. While these types of analysis can prove useful for establishing aspects of style ...
How Music Works
... new tuning system that created pure thirds was needed. This system is called just intonation, and adds a 5:4 major third to the ratios listed above. Some performers today prefer just tunings for certain kinds of music, such as those sung by an a cappella choir. During the Baroque period, composers n ...
... new tuning system that created pure thirds was needed. This system is called just intonation, and adds a 5:4 major third to the ratios listed above. Some performers today prefer just tunings for certain kinds of music, such as those sung by an a cappella choir. During the Baroque period, composers n ...
Musicology Today
... treated principle of “chromaticism” within the whole-tone and octatonic contexts. Notes foreign to the scale are introduced as chromatic elements, which are then resolved back into the given scale by half-step (Reise 1983: 226). ...
... treated principle of “chromaticism” within the whole-tone and octatonic contexts. Notes foreign to the scale are introduced as chromatic elements, which are then resolved back into the given scale by half-step (Reise 1983: 226). ...
24. Debussy Pour le piano: Sarabande Introduction and Performance circumstances
... Bars 42–45, the repeat of the opening: the tonality is elusive – if C sharp Aeolian minor, as one might expect, the opening D major chord might be flat-II (Neapolitan chord in root position). Bars 46–49: compare bars 5–8 – clearly beginning in C sharp Aeolian minor. Bars 50–55: new material, which i ...
... Bars 42–45, the repeat of the opening: the tonality is elusive – if C sharp Aeolian minor, as one might expect, the opening D major chord might be flat-II (Neapolitan chord in root position). Bars 46–49: compare bars 5–8 – clearly beginning in C sharp Aeolian minor. Bars 50–55: new material, which i ...
Walter Piston, Practical Theorist
... chord in the cadence is preceded by V of V. If the next phrase begins in the original tonic key, one might say it would be pointless to consider a modulation to the dominant key." Piston thus summarizes a significant philosophical problem in a nutshell, but his later treatment of it in Harmony was n ...
... chord in the cadence is preceded by V of V. If the next phrase begins in the original tonic key, one might say it would be pointless to consider a modulation to the dominant key." Piston thus summarizes a significant philosophical problem in a nutshell, but his later treatment of it in Harmony was n ...
Thesis (Wren_2015_02Thesis)
... Guruprasanna (ghatam), Tambura, and S. D. Sridhar (violin), 31 December 2006. ........... 98 Figure 7. Equivalent Western and Carnatic names for notes/swaras. ..................................... 102 Figure 8. The typical form of a Carnatic krithi. .................................................. ...
... Guruprasanna (ghatam), Tambura, and S. D. Sridhar (violin), 31 December 2006. ........... 98 Figure 7. Equivalent Western and Carnatic names for notes/swaras. ..................................... 102 Figure 8. The typical form of a Carnatic krithi. .................................................. ...
Glossary of musical terminology
... (sometimes nicknamed "railroad tracks" in reference to their appearance) • chiuso: closed; i.e., muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) • coda: a tail; i.e., a closing section appended to a movement • codetta: a small ...
... (sometimes nicknamed "railroad tracks" in reference to their appearance) • chiuso: closed; i.e., muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) • coda: a tail; i.e., a closing section appended to a movement • codetta: a small ...
Texture - Tim Wardrop
... of music, separate them into the following categories: s single melodic line s melody with accompaniment s more than one melodic line s countermelody s non-melodic/harmonic lines (e.g. rhythm section or percussion). Examples of some of these can be heard in the sound bites (see also some examples of ...
... of music, separate them into the following categories: s single melodic line s melody with accompaniment s more than one melodic line s countermelody s non-melodic/harmonic lines (e.g. rhythm section or percussion). Examples of some of these can be heard in the sound bites (see also some examples of ...
"Untamed Music": Early Jazz in Vaudeville - DigiNole!
... in the music’s history. Gushee makes use of newspaper articles and interviews to piece together the Creole Band’s touring schedule between 1914 and 1918 as well as contemporary reviews of the band in order to make educated guesses as to how they may have sounded. Another book providing information ...
... in the music’s history. Gushee makes use of newspaper articles and interviews to piece together the Creole Band’s touring schedule between 1914 and 1918 as well as contemporary reviews of the band in order to make educated guesses as to how they may have sounded. Another book providing information ...
Miriam Makeba in Guinea -‐ Deterritorializing History Through Music
... others. 2 The formalistic methods of analysis have been complemented with semiotic and cultural readings, and post-‐structuralist ideas have affected the discipline tremendously, albeit with a certai ...
... others. 2 The formalistic methods of analysis have been complemented with semiotic and cultural readings, and post-‐structuralist ideas have affected the discipline tremendously, albeit with a certai ...
The perception of interleaved melodies
... extensive use of melodic fission during that period. But examples of interleaved melodies can be found in western music as early as 1325 (The Robertsbridge Fragment, Wooldridge, 1897-1913) and as recently as in the jazz of John Coltrane (Williams, 1967). Miller and Heise ( 1950) d escribed an effect ...
... extensive use of melodic fission during that period. But examples of interleaved melodies can be found in western music as early as 1325 (The Robertsbridge Fragment, Wooldridge, 1897-1913) and as recently as in the jazz of John Coltrane (Williams, 1967). Miller and Heise ( 1950) d escribed an effect ...
The Devolution of the Shepherd Trumpet and Its Seminal
... In order to understand the interplay between natural instruments and those tuned to the diatonic scale, it is worthwhile to review the construction of the diatonic scale. It is not known if the diatonic scale came about from the Pythagorean tuning method or if Pythagorean tuning was at one time simp ...
... In order to understand the interplay between natural instruments and those tuned to the diatonic scale, it is worthwhile to review the construction of the diatonic scale. It is not known if the diatonic scale came about from the Pythagorean tuning method or if Pythagorean tuning was at one time simp ...
Trio for Piano, Oboe and Bassoon
... Analysis These notes will concentrate a little more than usual on the harmony/tonality of the movement, since a thorough understanding of these aspects is necessary to fully comprehend the music’s structure – and Poulenc’s use of harmony is one of the most important and unique features of his musica ...
... Analysis These notes will concentrate a little more than usual on the harmony/tonality of the movement, since a thorough understanding of these aspects is necessary to fully comprehend the music’s structure – and Poulenc’s use of harmony is one of the most important and unique features of his musica ...
MUSIC THEORY BASIC Jonathan Harnum HOW TO READ, WRITE, AND
... basso continuo (It): Used in the baroque era; an accompaniment usu. improvised with numbers indicating the harmony. bassoon: A double-reed instrument with low pitch. baton: Conductor’s wand. beam: A horizontal line used in place of flags to connect short notes. beat 1: A rhythmic unit of time. 2: To ...
... basso continuo (It): Used in the baroque era; an accompaniment usu. improvised with numbers indicating the harmony. bassoon: A double-reed instrument with low pitch. baton: Conductor’s wand. beam: A horizontal line used in place of flags to connect short notes. beat 1: A rhythmic unit of time. 2: To ...
CURRICULUM GUIDE VISUAL/PERFORMING ARTS DEPT
... Develop an understanding of the historical and cultural heritage. Develop a concern for the proper use and/or preservation of natural resources. Develop basic skills in sports and other forms of recreation. ...
... Develop an understanding of the historical and cultural heritage. Develop a concern for the proper use and/or preservation of natural resources. Develop basic skills in sports and other forms of recreation. ...
Stravinsky and the End of Musical Time
... basic instincts of self-preservation and procreation common to dance are expressed not only in The Rite but throughout the world.8 Thus, Messiaen believed that the battle between the two dinosaurs accompanied by Stravinsky’s music in Fantasia was not as far-fetched as one would believe. In his analy ...
... basic instincts of self-preservation and procreation common to dance are expressed not only in The Rite but throughout the world.8 Thus, Messiaen believed that the battle between the two dinosaurs accompanied by Stravinsky’s music in Fantasia was not as far-fetched as one would believe. In his analy ...
Musical Rhetoric in Three Praeludia of Dietrich Buxtehude
... Inchoatio imperfecta—Although Bernhard defines this term in strictly musical language, the figure carries not only structural value but also affective meaning to a German Baroque listener. (Remember that dissonances utilize ratios far from perfection, and thus, elicit darker affects in the listener ...
... Inchoatio imperfecta—Although Bernhard defines this term in strictly musical language, the figure carries not only structural value but also affective meaning to a German Baroque listener. (Remember that dissonances utilize ratios far from perfection, and thus, elicit darker affects in the listener ...
Expanded tonality - Scholar Commons
... emphasize the dominant as well as the tonic. This compositional technique, coined by David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a ...
... emphasize the dominant as well as the tonic. This compositional technique, coined by David Witten as a wedge, plays a significant role in the transition toward expanded tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a ...
Alois Hába`s Suite für vier Posaunen
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
A Semiotic Analysis of Paisaje Cubano con Lluvia by Leo Brouwer
... solution to the troubling issue of identity generated during the colony. This becomes evident later during his avant-garde period with compositions that make use of aleatoric elements, extended techniques and atonal harmony (e.g. La Espiral Eterna). However, one has to understand Brouwer’s transitio ...
... solution to the troubling issue of identity generated during the colony. This becomes evident later during his avant-garde period with compositions that make use of aleatoric elements, extended techniques and atonal harmony (e.g. La Espiral Eterna). However, one has to understand Brouwer’s transitio ...
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.