Dissertation MUSI591 – 10C (HAM)
... occurred in the Romantic era concert. The short, improvisatory pieces primarily functioned as introductions to the large-scale works that succeeded them; they also had the utilitarian purpose of “ascertaining the qualities of the pianoforte, perhaps unfamiliar to him [the pianist]” according to Czer ...
... occurred in the Romantic era concert. The short, improvisatory pieces primarily functioned as introductions to the large-scale works that succeeded them; they also had the utilitarian purpose of “ascertaining the qualities of the pianoforte, perhaps unfamiliar to him [the pianist]” according to Czer ...
An Introduction to Contemporary Music - Machlis
... c) movement towards standardized metrical rhythm reached its height in the Classic-Romantic era (1) enormous amount of music written in 2/4, 3/4, 4/4, and 6/8 time (2) these regular patterns set up expectations in the listener with the resultant pleasure when fulfilled (3) metrical rhythm made organ ...
... c) movement towards standardized metrical rhythm reached its height in the Classic-Romantic era (1) enormous amount of music written in 2/4, 3/4, 4/4, and 6/8 time (2) these regular patterns set up expectations in the listener with the resultant pleasure when fulfilled (3) metrical rhythm made organ ...
Daniel Liles
... Knowing that Rameau lived here from 1727 to 1730, historians have presumed that at some point during his three year residence there, all 15 pieces of the book were probably composed, edited, and published. The pieces are broken up into two groups according to their key areas, A major/minor and G ma ...
... Knowing that Rameau lived here from 1727 to 1730, historians have presumed that at some point during his three year residence there, all 15 pieces of the book were probably composed, edited, and published. The pieces are broken up into two groups according to their key areas, A major/minor and G ma ...
Complete Appendices
... APPENDIX 7 Analysis of Minuet, BWV Anh. 115 (J.S. Bach) APPENDIX 8 Analysis of Minuet, K.2 (W.A. Mozart) APPENDIX 9 Analysis of Serious Moments, Op. 130, No. 23 (C. Gurlitt) APPENDIX 10 Analysis of Time in a Bottle (J. Croce) ...
... APPENDIX 7 Analysis of Minuet, BWV Anh. 115 (J.S. Bach) APPENDIX 8 Analysis of Minuet, K.2 (W.A. Mozart) APPENDIX 9 Analysis of Serious Moments, Op. 130, No. 23 (C. Gurlitt) APPENDIX 10 Analysis of Time in a Bottle (J. Croce) ...
Playing Musical Tiles - SJU
... We now consider the effect of octave shift. One generally perceives a C major chord played with the C in the highest voice as similar to one with the C in the lowest voice (root position). So, we identify all chords that are equivalent under octave shift; that is, v ≡ w if and only if v − w ≡ 0 (mod ...
... We now consider the effect of octave shift. One generally perceives a C major chord played with the C in the highest voice as similar to one with the C in the lowest voice (root position). So, we identify all chords that are equivalent under octave shift; that is, v ≡ w if and only if v − w ≡ 0 (mod ...
A MOVIE SCORE FOR CONCERT BAND
... bands. These wind bands found their way back into the concert halls. The titles of Gustav Holst’s First and Second Suites for Military Band are an indication of the transition, for although the name says military, the contents were not strictly march tempos and were meant to be played in a concert s ...
... bands. These wind bands found their way back into the concert halls. The titles of Gustav Holst’s First and Second Suites for Military Band are an indication of the transition, for although the name says military, the contents were not strictly march tempos and were meant to be played in a concert s ...
Glossary - terms used in music analysis
... Aeolian mode - an ancient scale which is identical to the natural minor scale. See mode. ...
... Aeolian mode - an ancient scale which is identical to the natural minor scale. See mode. ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
Strand A - Core Knowledge UK
... Recognise a steady beat, accents, and the downbeat; play a steady beat, a simple rhythm pattern, simultaneous rhythm patters, and syncopation patterns. Discriminate between fast and slow; gradually slowing down and getting faster; accelerando and ritardando. Discriminate between differences in pitch ...
... Recognise a steady beat, accents, and the downbeat; play a steady beat, a simple rhythm pattern, simultaneous rhythm patters, and syncopation patterns. Discriminate between fast and slow; gradually slowing down and getting faster; accelerando and ritardando. Discriminate between differences in pitch ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
The case of L`escalier du diable by György Ligeti
... Furthermore, the tripartite form of L’escalier du diable imitates the three main zones of the mathematical devil’s staircase. Indeed, the centre of the Etude (bars (26)-(43)) corresponds to a brief lull similar to the horizontal segment of the mathematical staircase. This moment is characterized by ...
... Furthermore, the tripartite form of L’escalier du diable imitates the three main zones of the mathematical devil’s staircase. Indeed, the centre of the Etude (bars (26)-(43)) corresponds to a brief lull similar to the horizontal segment of the mathematical staircase. This moment is characterized by ...
Octave - Philip Tagg
... as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ‘unison at another pitch’ is also illustrated by the fact that: (i) a common chord consis ...
... as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ‘unison at another pitch’ is also illustrated by the fact that: (i) a common chord consis ...
Lesson_LLL_-_Mixture..
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
A Geometric Property of the Octatonic Scale 1 Praeludium
... If a decachord is to be dyadically partitioned by tritones then it must contain five of the six possible tritones which implies that the two omitted pitchclasses must lie at the extremities of the “missing” tritone and, hence, must be diametrically opposed as in Figure 19. But, the decachord shown th ...
... If a decachord is to be dyadically partitioned by tritones then it must contain five of the six possible tritones which implies that the two omitted pitchclasses must lie at the extremities of the “missing” tritone and, hence, must be diametrically opposed as in Figure 19. But, the decachord shown th ...
The Relative Importance of Local and Global Structures in
... The following brief description highlights the most salient regularities in Western musical pieces, which can be found in all styles of Western music (from baroque music to rock n’ roll and jazz). The Western tonal system can be described as a three-level hierarchical grammar based on a restricted s ...
... The following brief description highlights the most salient regularities in Western musical pieces, which can be found in all styles of Western music (from baroque music to rock n’ roll and jazz). The Western tonal system can be described as a three-level hierarchical grammar based on a restricted s ...
On the Slow Movement of Brahms`s F-Minor Clarinet Sonata
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
Spectral analysis of different harmonies Implemented by Equal
... noticeable differences in the specific range, and the red-lettered frequencies exist only in the equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer re ...
... noticeable differences in the specific range, and the red-lettered frequencies exist only in the equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer re ...
Music Flashcard Printouts.doc
... This variety of minor scale has an augmented second (aug2) between scale degrees 6 and 7. ...
... This variety of minor scale has an augmented second (aug2) between scale degrees 6 and 7. ...
THE RESPECTIVE INFLUENCE OF JAZZ AND CLASSICAL MUSIC
... On the one end of the spectrum, the Guinness Book of Jazz defines jazz as: "Distinctive musical style, deriving from an Afro-American background . . . . It has no melodic or harmonic features that could not be found in other musical spheres. Its distinguishing trait is a propulsive and flexible rhyt ...
... On the one end of the spectrum, the Guinness Book of Jazz defines jazz as: "Distinctive musical style, deriving from an Afro-American background . . . . It has no melodic or harmonic features that could not be found in other musical spheres. Its distinguishing trait is a propulsive and flexible rhyt ...
Three Conceptions of Musical Distance
... theory, which considers triangles sharing an edge to be one unit apart and which decomposes larger distances into sequences of one-unit moves.) Yet it takes only two semitones of total motion to move from C major to F minor, and three to move from C major to F major. (This is precisely why F minor ...
... theory, which considers triangles sharing an edge to be one unit apart and which decomposes larger distances into sequences of one-unit moves.) Yet it takes only two semitones of total motion to move from C major to F minor, and three to move from C major to F major. (This is precisely why F minor ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... The importance of the first seven points is commonly understood. The eighth point, sensitivity to melodic and harmonic influences, is generally not so well understood, however. Hopefully the following explanation will help. As electronic tuning devices become more and more widespread, these tend to ...
... The importance of the first seven points is commonly understood. The eighth point, sensitivity to melodic and harmonic influences, is generally not so well understood, however. Hopefully the following explanation will help. As electronic tuning devices become more and more widespread, these tend to ...
A permutational triadic approach to jazz harmony and the chord
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
Introduction to Figured Bass
... bass instrument such as cello, bassoon or trombone would play the bass line. At the same time, a chordal instrument such as harpsichord, lute or organ would also play the bass line and provide middle range pitches that would fill in the harmonies implied by that bass line. Initially, basso continuo ...
... bass instrument such as cello, bassoon or trombone would play the bass line. At the same time, a chordal instrument such as harpsichord, lute or organ would also play the bass line and provide middle range pitches that would fill in the harmonies implied by that bass line. Initially, basso continuo ...
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.