PDF - UNT Digital Library
... plays it very well, but that’s not the way I want to play at all! I’ve got a whole different thing I want to do. We’ve got two levels of appreciation here: critics like who they like and then musicians like who they like. Sometimes there’s a wide differentiation.6 After his tenure with the Kenton b ...
... plays it very well, but that’s not the way I want to play at all! I’ve got a whole different thing I want to do. We’ve got two levels of appreciation here: critics like who they like and then musicians like who they like. Sometimes there’s a wide differentiation.6 After his tenure with the Kenton b ...
Edvard Grieg`s Influence on American Music
... pieces, such as the Keltic Sonata, Op. 59, to Grieg supports his special admiration for this Northern European master. However, with regard to musical stylistic issues in MacDowell‟s composition, there have been few exclusive studies concerning Grieg‟s influence on MacDowell‟s music. European Romant ...
... pieces, such as the Keltic Sonata, Op. 59, to Grieg supports his special admiration for this Northern European master. However, with regard to musical stylistic issues in MacDowell‟s composition, there have been few exclusive studies concerning Grieg‟s influence on MacDowell‟s music. European Romant ...
Texture - Tim Wardrop
... Homophonic texture is the most common texture type heard in music. With a melodic layer and a harmonic layer, it is the texture on which most music is based. When analysing a piece of music, listen for a homophonic texture before you try to identify a monophonic or polyphonic texture type. A homopho ...
... Homophonic texture is the most common texture type heard in music. With a melodic layer and a harmonic layer, it is the texture on which most music is based. When analysing a piece of music, listen for a homophonic texture before you try to identify a monophonic or polyphonic texture type. A homopho ...
The Musical Idea and the Basic Image in an Atonal Song
... phenomenological objects such as these in hearing a piece, and that the patterns produced by such shifts can be thought of as a kind of large-scale rhythm. A second, contrasting, understanding of coherence would assert that objective properties make the song or recitation hang together, and that the ...
... phenomenological objects such as these in hearing a piece, and that the patterns produced by such shifts can be thought of as a kind of large-scale rhythm. A second, contrasting, understanding of coherence would assert that objective properties make the song or recitation hang together, and that the ...
Generalized Interval System and Its Applications
... naming intervals. In Table 1 all possible interval names are shown. However, augmented and diminished intervals are not used as often as major and minor intervals are used. Moreover, augmented fourth and diminished fifth are commonly called tritone. Also many of these intervals sound the same; for e ...
... naming intervals. In Table 1 all possible interval names are shown. However, augmented and diminished intervals are not used as often as major and minor intervals are used. Moreover, augmented fourth and diminished fifth are commonly called tritone. Also many of these intervals sound the same; for e ...
Ancient Greek Music: A Technical History by Stefan Hagel
... made, context indicates that melodies can move from one of these ‘ranges’ or τόνοι to another. Such movement will count as the kind of μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘mod ...
... made, context indicates that melodies can move from one of these ‘ranges’ or τόνοι to another. Such movement will count as the kind of μεταβολή of special interest to Hagel. To signal its significance and peculiarity to melody, it is more usual to translate it into English not as ‘change’ but as ‘mod ...
Tuning Systems
... ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sound good together because their frequencies are related in such a simple way. If a note had a frequency, for example, that was 2.11 times the frequency of another note (instead of exactly 2 times), the two notes would n ...
... ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sound good together because their frequencies are related in such a simple way. If a note had a frequency, for example, that was 2.11 times the frequency of another note (instead of exactly 2 times), the two notes would n ...
rhythm clef
... If only one pitch, why not only one line? Great question. Some singleinstrument percussion music is written on one line. The line looks something like this: Example 9.2 Single staff line with rhythm clef. rhythm clef ...
... If only one pitch, why not only one line? Great question. Some singleinstrument percussion music is written on one line. The line looks something like this: Example 9.2 Single staff line with rhythm clef. rhythm clef ...
WOODWIND DOUBLING ON FOLK, ETHNIC, AND PERIOD
... Woodwind doubling is the practice of playing instruments from more than one woodwind family. Though woodwind doubling in Western music began at least as early as the fifteenth century, there has been a surge in this practice since the early twentieth century.1 Phil Thompson names three primary setti ...
... Woodwind doubling is the practice of playing instruments from more than one woodwind family. Though woodwind doubling in Western music began at least as early as the fifteenth century, there has been a surge in this practice since the early twentieth century.1 Phil Thompson names three primary setti ...
An Analysis of Karlheinz Stockhausen`s Traum
... viewed as a summation of many of his achievements as a composer. Conceptually Licht also embodies much of what Stockhausen believes about the universe: it is both a spiritual statement and a dramatic work, as well as an extremely ambitious example of the post-war serial composers' ideal of a thoroug ...
... viewed as a summation of many of his achievements as a composer. Conceptually Licht also embodies much of what Stockhausen believes about the universe: it is both a spiritual statement and a dramatic work, as well as an extremely ambitious example of the post-war serial composers' ideal of a thoroug ...
Federico Mompou: a style analysis of thirty
... Mompou’s compositions. In particular, the notes of the bell overtone series provide important intervallic relationships in Mompou’s music. In particular, intervals of major thirds, minor thirds, perfect fourths, perfect fifths, and octaves are particularly common in Mompou’s music. The influence of ...
... Mompou’s compositions. In particular, the notes of the bell overtone series provide important intervallic relationships in Mompou’s music. In particular, intervals of major thirds, minor thirds, perfect fourths, perfect fifths, and octaves are particularly common in Mompou’s music. The influence of ...
Guitar Method I
... includes the pickups in the guitar, the amplifier you're plugged into and any signal processing you may be using. While it helps to have a great guitar, your sound is only as good as the total quality of the equipment being used. If you are choosing an acoustic steel or nylon string guitar, your sou ...
... includes the pickups in the guitar, the amplifier you're plugged into and any signal processing you may be using. While it helps to have a great guitar, your sound is only as good as the total quality of the equipment being used. If you are choosing an acoustic steel or nylon string guitar, your sou ...
Debussy - Nuages notes
... nocturnes, arabesques. His forms, too, tend to be a series of waves, whose principal themes recede into the background and continue as ostinatos while other versions of themselves or new material is superimposed. Although the thematic content of even large-scale works is fairly limited, alterations ...
... nocturnes, arabesques. His forms, too, tend to be a series of waves, whose principal themes recede into the background and continue as ostinatos while other versions of themselves or new material is superimposed. Although the thematic content of even large-scale works is fairly limited, alterations ...
1.3. MUSICAL TERMS
... Nada is a musical sound which pleases the ears and mind the moment it is produced and heard. The whole subject of music relates to nada. Nada gives rise to sruti and these give rise to svaras and these again to ragas. Nada admits of the divisions. Ahata & Anahata. The nada that is heard without the ...
... Nada is a musical sound which pleases the ears and mind the moment it is produced and heard. The whole subject of music relates to nada. Nada gives rise to sruti and these give rise to svaras and these again to ragas. Nada admits of the divisions. Ahata & Anahata. The nada that is heard without the ...
Complex Chords Table of Content
... Four note chords are build the same way as triads, but they contain one more (major or minor) third, and therefore there are twice as much possible combinations as for triads. Not all these possible combinations are really useful in practice; in fact, some chords that do not consist exclusively of i ...
... Four note chords are build the same way as triads, but they contain one more (major or minor) third, and therefore there are twice as much possible combinations as for triads. Not all these possible combinations are really useful in practice; in fact, some chords that do not consist exclusively of i ...
Scales and temperaments: the fivefold way
... can be used to construct scales consisting of notes that are for the most part related by small integer ratios. Given the fundamental role of the octave, it is natural to take the harmonics of a note and move them down a number of octaves to place them all in the same octave. In this case, the ratio ...
... can be used to construct scales consisting of notes that are for the most part related by small integer ratios. Given the fundamental role of the octave, it is natural to take the harmonics of a note and move them down a number of octaves to place them all in the same octave. In this case, the ratio ...
Yet Another 72-Noter - Masters Program in Digital Musics
... If there were symbols for larger intervals down to the whole tone, I didn't—and still don't—want to know them. I knew that if confronted with such a set of symbols, I would give up and go back to modal monody. The graphic distinctions seemed too minute for practical purposes, the symbols too hard t ...
... If there were symbols for larger intervals down to the whole tone, I didn't—and still don't—want to know them. I knew that if confronted with such a set of symbols, I would give up and go back to modal monody. The graphic distinctions seemed too minute for practical purposes, the symbols too hard t ...
Stravinsky and the Octatonic: The Sounds of
... example 5. Three interpretations of the “Infernal Dance,” mm. 1–26. rehearsal 48, involves a scale—I hear it as B b natural minor, despite the low E b bass. We need the concept “scale” to explain that the trumpet part consists of parallel second-inversion seventh chords: what makes these chords “par ...
... example 5. Three interpretations of the “Infernal Dance,” mm. 1–26. rehearsal 48, involves a scale—I hear it as B b natural minor, despite the low E b bass. We need the concept “scale” to explain that the trumpet part consists of parallel second-inversion seventh chords: what makes these chords “par ...
A propos du « mouvement musical » chez Debussy :
... resolve chromatically (due to two half-steps in the scale) to the consonant third within the tonic triad. In this sense, the tonal system could only develop the Ionian and Aeolian modes (which transform into the major and minor scales), the only modes where the notes of the tritone do not belong to ...
... resolve chromatically (due to two half-steps in the scale) to the consonant third within the tonic triad. In this sense, the tonal system could only develop the Ionian and Aeolian modes (which transform into the major and minor scales), the only modes where the notes of the tritone do not belong to ...
Chords symbols and their chords
... There are many tuning systems other than that used by the piano. These systems mostly relate to intervals that naturally occur when sound is made, and mostly are older than the mathematicallybased tuning system used for pianos. These older systems have left their mark on the language that we use to ...
... There are many tuning systems other than that used by the piano. These systems mostly relate to intervals that naturally occur when sound is made, and mostly are older than the mathematicallybased tuning system used for pianos. These older systems have left their mark on the language that we use to ...
Twelve-note composition - Paul Ayick Vintage Brass
... 12-note composition. It is one thing to define a 12-note set and quite another to define 12-note composition. A general definition cannot go beyond the assertion that all the pitch-class relations of a given musical context are assumed to be referable to a specific configuration of the 12 pitch clas ...
... 12-note composition. It is one thing to define a 12-note set and quite another to define 12-note composition. A general definition cannot go beyond the assertion that all the pitch-class relations of a given musical context are assumed to be referable to a specific configuration of the 12 pitch clas ...
Javanese Gamelan Terminology
... Nowadays this term covers a variety of light, vocaloriented pieces designed for gamelan performance, and not associated with music or entertainment for children. Also known as Kreasi Baru, "New Creations". A genre similar to dolanan, featuring kroncong melodies (an indigenous music played on western ...
... Nowadays this term covers a variety of light, vocaloriented pieces designed for gamelan performance, and not associated with music or entertainment for children. Also known as Kreasi Baru, "New Creations". A genre similar to dolanan, featuring kroncong melodies (an indigenous music played on western ...
Bi-tonal Quartal Harmony
... Bi-‐Tonal Quartal Harmony introduces a “bi-‐tonal” relationship, which expands the intervallic vocabulary considerably, and allows for the use of non-‐ diatonic harmonies with considerable control, and a broader spe ...
... Bi-‐Tonal Quartal Harmony introduces a “bi-‐tonal” relationship, which expands the intervallic vocabulary considerably, and allows for the use of non-‐ diatonic harmonies with considerable control, and a broader spe ...
Polyrhythm
Polyrhythm is the simultaneous use of two or more conflicting rhythms, that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic conflict may be the basis of an entire piece of music (cross-rhythm), or a momentary disruption. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm.