presentation source
... during a musical piece. There are approximately 8-10 general dynamic levels which can have fractal properties. Though we did not use dynamic properties in our own fractals, they are another important aspect of the fractal properties of music ...
... during a musical piece. There are approximately 8-10 general dynamic levels which can have fractal properties. Though we did not use dynamic properties in our own fractals, they are another important aspect of the fractal properties of music ...
HARMONIC CONSONANCE: A THEORETIC AND COGNITIVE
... Most proposals for an interpretation of the musical notion of consonance lack a general perspective from which it could be easier to separate the paper of mathematically founded acoustics, the importance of perceptivist aspects and the influence of historical and cultural background. Few analysis al ...
... Most proposals for an interpretation of the musical notion of consonance lack a general perspective from which it could be easier to separate the paper of mathematically founded acoustics, the importance of perceptivist aspects and the influence of historical and cultural background. Few analysis al ...
Baroque-Era Algorithmic Composition Kevin Deisz 1st Step – Keys
... Cmaj dominant chord is Gmaj, Gmaj dominant chord is Dmaj (with an F#) ...
... Cmaj dominant chord is Gmaj, Gmaj dominant chord is Dmaj (with an F#) ...
AP Music Theory Syllabus
... 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, major, minor, diminished, and augmented intervals inclusive of an octave. 9. Notate, hear, and identify triads and seventh chords including inversions. 10. Define and identify common tempo and ...
... 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, major, minor, diminished, and augmented intervals inclusive of an octave. 9. Notate, hear, and identify triads and seventh chords including inversions. 10. Define and identify common tempo and ...
Definitions, Quiz 1
... Interval. The distance and relationship between two pitches. Range. The distance between the lowest and highest tones of a melody, an instrument, or a voice. This span can be generally described as narrow, medium, or wide in range. Shape. The shape of a melody is determined by the direction a melody ...
... Interval. The distance and relationship between two pitches. Range. The distance between the lowest and highest tones of a melody, an instrument, or a voice. This span can be generally described as narrow, medium, or wide in range. Shape. The shape of a melody is determined by the direction a melody ...
“Eric Whitacre Sleep” Analysis
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
12-13 A S05 rubric
... Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples of twentieth century music and identify several general characteristics of this period’s music. TSW9 create a composition that uses traditional instruments in experimental ways TSW10 listen to a ...
... Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples of twentieth century music and identify several general characteristics of this period’s music. TSW9 create a composition that uses traditional instruments in experimental ways TSW10 listen to a ...
Rondo, 3rd Movement from Sonatina in F Op 168
... where the development is missing. Op. stands for opus which shows the catalogue number given by the composer. Comment on the style of this piece: This piece is a Classical work shown through the structure used (rondo), homophonic texture, simple diatonic key and modulations, broken chord accompanime ...
... where the development is missing. Op. stands for opus which shows the catalogue number given by the composer. Comment on the style of this piece: This piece is a Classical work shown through the structure used (rondo), homophonic texture, simple diatonic key and modulations, broken chord accompanime ...
NCAS/NAfME MUSIC GLOSSARY - National Core Arts Standards
... jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes ...
... jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes ...
From Pythagoras to Johann Sebastian Bach: An
... impersonal, unfeeling, and uninvolved with human concerns.”9 It is the voice of reason that allows humans to reach ultimate happiness, not a spiritual relationship with God. This return to ancient worldviews is echoed in the construction of the forty-eight preludes and fugues of Bach’s Well-Tempered ...
... impersonal, unfeeling, and uninvolved with human concerns.”9 It is the voice of reason that allows humans to reach ultimate happiness, not a spiritual relationship with God. This return to ancient worldviews is echoed in the construction of the forty-eight preludes and fugues of Bach’s Well-Tempered ...
Music Glossary
... baritone: the range of male voice pitch that is deeper than tenor, but not so deep as bass. bass: the deepest range of pitch of a man’s voice; the range of pitch of an instrument within a particular family of instruments. bass clef: symbol placed on the five-line staff in traditional notation indica ...
... baritone: the range of male voice pitch that is deeper than tenor, but not so deep as bass. bass: the deepest range of pitch of a man’s voice; the range of pitch of an instrument within a particular family of instruments. bass clef: symbol placed on the five-line staff in traditional notation indica ...
AP Music Theory - Stratford Public Schools
... Identify practical uses for first inversion triads. Identify and apply the uses for V7 ii7, iio7, viio7 and viio7. ...
... Identify practical uses for first inversion triads. Identify and apply the uses for V7 ii7, iio7, viio7 and viio7. ...
urn_nbn_fi_jyu-20
... analytical research has been conducted on its application on diatonic or chromatic modal music. More specifically, Lerdahl addresses chromatic pitch spaces in chapters 6 & 7 of his "Tonal Pitch Space" (2001) and conducts analyses of late 19th century and 20th century music, while Temperley (The Cogn ...
... analytical research has been conducted on its application on diatonic or chromatic modal music. More specifically, Lerdahl addresses chromatic pitch spaces in chapters 6 & 7 of his "Tonal Pitch Space" (2001) and conducts analyses of late 19th century and 20th century music, while Temperley (The Cogn ...
Core Music Standards Glossary
... Chart: jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression: series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively: working together on a ...
... Chart: jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression: series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively: working together on a ...
The Geometry of Melodic, Harmonic, and Metrical
... A melodic hierarchy is one on tones strictly ordered in time and belonging to one voice. One particularly useful melodic hierarchy emerges from the principles, first, that the line it represents should be conceived as constantly in motion at every level (so that the line can include no repeated tone ...
... A melodic hierarchy is one on tones strictly ordered in time and belonging to one voice. One particularly useful melodic hierarchy emerges from the principles, first, that the line it represents should be conceived as constantly in motion at every level (so that the line can include no repeated tone ...
Akrotiri Music Curriculum Overview 2016 2017
... Ongoing thread through all year groups- to appreciate and understand a wide range of high quality live and recorded music from different traditions and from great composers and musicians. Develop an awareness/understanding of the history of music. ...
... Ongoing thread through all year groups- to appreciate and understand a wide range of high quality live and recorded music from different traditions and from great composers and musicians. Develop an awareness/understanding of the history of music. ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
Word - asboa
... A chord with a raised fifth interval A musical period around 1600-1750 A symbol used to denote pitches below middle C Resting point at the end of a phrase, section, or complete composition Simultaneous combination of three or more different pitches Movement from one chord to another A series of half ...
... A chord with a raised fifth interval A musical period around 1600-1750 A symbol used to denote pitches below middle C Resting point at the end of a phrase, section, or complete composition Simultaneous combination of three or more different pitches Movement from one chord to another A series of half ...
File
... turn. An example of suspension is in bar 26 of Bach’s prelude I, where the middle C is held on from the chord of C to the chord of G7sus4. ...
... turn. An example of suspension is in bar 26 of Bach’s prelude I, where the middle C is held on from the chord of C to the chord of G7sus4. ...
mus 1p definitions. test 2
... patterns, notated as measures. The two basic meters are duple (two beats) and triple (three beats); quadruple (four beats) is the most common. In simple meters, such as duple, triple, and quadruple, each beat subdivides into two; in compound meters, such as sextuple, each beat divides into three. Me ...
... patterns, notated as measures. The two basic meters are duple (two beats) and triple (three beats); quadruple (four beats) is the most common. In simple meters, such as duple, triple, and quadruple, each beat subdivides into two; in compound meters, such as sextuple, each beat divides into three. Me ...
Concert Choir unit 1 final - Stockbridge Valley Central School
... Critical Thinking: Students will listen to a recording of three different choirs and individually articulate in writing and in words how the choirs were different and similar. Communication/Leadership: Students will take turns leading the class in the warm up exercises. Communication: Students will ...
... Critical Thinking: Students will listen to a recording of three different choirs and individually articulate in writing and in words how the choirs were different and similar. Communication/Leadership: Students will take turns leading the class in the warm up exercises. Communication: Students will ...
Statistical analysis of a music database to investigate historical
... vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitches to the 12-tone chromatic scale, and used the Humdrum Toolkit (Huron) to count pitch patterns, labeling them as pitch-class sets (Forte). For simultaneous tones, we considered ...
... vocal polyphony from seven centuries (13th to 19th). Method: We found electronic scores in the internet, assigned all pitches to the 12-tone chromatic scale, and used the Humdrum Toolkit (Huron) to count pitch patterns, labeling them as pitch-class sets (Forte). For simultaneous tones, we considered ...
Music Glossary
... possibly other movements) with their musical performance measure – the segment of music contained between two bar lines melody – a series of musical notes arranged one after another meter – the grouping of beats in a measure determined by the time signature mezzo-forte (mf) – medium loud mezzo-piano ...
... possibly other movements) with their musical performance measure – the segment of music contained between two bar lines melody – a series of musical notes arranged one after another meter – the grouping of beats in a measure determined by the time signature mezzo-forte (mf) – medium loud mezzo-piano ...
56. pianissimo (pp) - very soft 57. piano (p) - soft
... Chorus Vocabulary P - R 55. phrase - a single musical idea 56. pianissimo (pp) - very soft 57. piano (p) - soft 58. pizzicato (pizz.) – strings are plucked with fingers rather than bowed 59. poco a poco - little by little 60. portamento –the voice glides through all the pitches 61. prestissimo – as ...
... Chorus Vocabulary P - R 55. phrase - a single musical idea 56. pianissimo (pp) - very soft 57. piano (p) - soft 58. pizzicato (pizz.) – strings are plucked with fingers rather than bowed 59. poco a poco - little by little 60. portamento –the voice glides through all the pitches 61. prestissimo – as ...
Program Notes - Michael Gandolfi
... her parents, James Gorton and Gretchen Van Hoesen, to celebrate the occasion of Heidi’s graduation from the Juilliard School. Heidi’s extraordinary gifts as a musician and a harpist were ever-present while I composed this piece. I met Heidi during her 2008 fellowship-summer of studies at the Tanglew ...
... her parents, James Gorton and Gretchen Van Hoesen, to celebrate the occasion of Heidi’s graduation from the Juilliard School. Heidi’s extraordinary gifts as a musician and a harpist were ever-present while I composed this piece. I met Heidi during her 2008 fellowship-summer of studies at the Tanglew ...