cadences - UT School of Music
... • The progression could involve an inversion of the V chord, and inversion of the I chord, or both chords in inversion. • The progression could also be a leading tone chord to tonic (viio-I); this progression will always be an imperfect authentic since 5-1 can never be the bass. ...
... • The progression could involve an inversion of the V chord, and inversion of the I chord, or both chords in inversion. • The progression could also be a leading tone chord to tonic (viio-I); this progression will always be an imperfect authentic since 5-1 can never be the bass. ...
Full Text - Discovery Publication
... This sequence is also called real sequence, each successive pattern is an exact intervallic duplication of the original (Benward, 1985: 108). If there is no variation in the intervals (usually achieved by altering not merely the pitch of the notes, but also the key) it is also a real sequence. In ba ...
... This sequence is also called real sequence, each successive pattern is an exact intervallic duplication of the original (Benward, 1985: 108). If there is no variation in the intervals (usually achieved by altering not merely the pitch of the notes, but also the key) it is also a real sequence. In ba ...
Elements of Music (Word Examples)
... The process of revealing a theme’s capacities and brining them to fulfillment. The principle of elaborating or varying a musical idea is pervasive in Western music, and it is also found in melody-oriented styles of many Far Eastern and Middle Eastern musics. The composer elaborates and varies the op ...
... The process of revealing a theme’s capacities and brining them to fulfillment. The principle of elaborating or varying a musical idea is pervasive in Western music, and it is also found in melody-oriented styles of many Far Eastern and Middle Eastern musics. The composer elaborates and varies the op ...
12-tone technique
... • There are four types of combinatoriality, corresponding with the four forms of a row: Prime, Inversional, Retrograde-Inversional, and Regrograde (which is trivial, since every 12-tone row is combinatorial with its own retrograde. Because of this, Babbitt, who came up with this term, originally exc ...
... • There are four types of combinatoriality, corresponding with the four forms of a row: Prime, Inversional, Retrograde-Inversional, and Regrograde (which is trivial, since every 12-tone row is combinatorial with its own retrograde. Because of this, Babbitt, who came up with this term, originally exc ...
TEKS Comparison.xlsx
... 4.2c. Identify new and previously learned music symbols and terms referring to tempo, dynamics, including crescendo and decrescendo, and articulation, including staccato and legato 4.3a. Sing and play classroom instruments with accurate intonation and rhythm independently or in groups 4.3b. Sing or ...
... 4.2c. Identify new and previously learned music symbols and terms referring to tempo, dynamics, including crescendo and decrescendo, and articulation, including staccato and legato 4.3a. Sing and play classroom instruments with accurate intonation and rhythm independently or in groups 4.3b. Sing or ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... When the gap between two intervals can be fulfilled by some fourth inner complementary interval ([4], [5] or [6]), that is, it can be interpreted as the sum of two superposed fourths, this filling in is placed inside parenthesis and the inserted pitch-class is marked with a notehead cross. Thus, a r ...
... When the gap between two intervals can be fulfilled by some fourth inner complementary interval ([4], [5] or [6]), that is, it can be interpreted as the sum of two superposed fourths, this filling in is placed inside parenthesis and the inserted pitch-class is marked with a notehead cross. Thus, a r ...
MTO 1.1: Rothgeb, The Tristan Chord
... [16] The elision, or suppression, of the A 1 of bar 2 is but the first of several such acts that lend the music a portentously laconic quality. The dominant-seventh chord of bar 3 “should” continue to an A-minor tonic chord, almost certainly with C 2 in the treble; the bass A would provide the poin ...
... [16] The elision, or suppression, of the A 1 of bar 2 is but the first of several such acts that lend the music a portentously laconic quality. The dominant-seventh chord of bar 3 “should” continue to an A-minor tonic chord, almost certainly with C 2 in the treble; the bass A would provide the poin ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... second imitates an ocarina, representing the player as they repeat after Sheik. Harmonically, the piece begins and ends with an E Major chord, but the leading tone (D-sharp) is absent at the cadence; this undermines a tonal interpretation of the piece, suggesting that a modal analysis (E Mixolydian) ...
... second imitates an ocarina, representing the player as they repeat after Sheik. Harmonically, the piece begins and ends with an E Major chord, but the leading tone (D-sharp) is absent at the cadence; this undermines a tonal interpretation of the piece, suggesting that a modal analysis (E Mixolydian) ...
Télécharger le pdf
... Article abstract Claude Vivier’s Chants is considered by many to be his first significant musical composition, yet very little exploration has been undertaken to determine what techniques and ideas flow from this work into his mature musical style. This article provides an in-depth analysis of Chant ...
... Article abstract Claude Vivier’s Chants is considered by many to be his first significant musical composition, yet very little exploration has been undertaken to determine what techniques and ideas flow from this work into his mature musical style. This article provides an in-depth analysis of Chant ...
Middle School Instrumental/Vocal GRADE: 7
... current technology (DOK 1-3)(C) b. Notate a harmonic pattern in sequence, of at least 12 measures; may utilize current technology (DOK 1-3)(I) a. Read notes on a staff including four or more ledger lines above or below the staff (DOK 1)(C) ...
... current technology (DOK 1-3)(C) b. Notate a harmonic pattern in sequence, of at least 12 measures; may utilize current technology (DOK 1-3)(I) a. Read notes on a staff including four or more ledger lines above or below the staff (DOK 1)(C) ...
Composition.
... performances. One motivation for formulations that approach one or the other extreme is to assert one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments concerning criteria for judging the effectiveness of performances have played an important ...
... performances. One motivation for formulations that approach one or the other extreme is to assert one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments concerning criteria for judging the effectiveness of performances have played an important ...
The Relative Importance of Local and Global Structures in
... artificial neural networks. These networks (also called connectionist models) are rooted in the biological structure of the neural system: artificial neurons (units) are linked via synaptic connections of different strengths. The goal is not to describe neural anatomy and physiology, but to be inspi ...
... artificial neural networks. These networks (also called connectionist models) are rooted in the biological structure of the neural system: artificial neurons (units) are linked via synaptic connections of different strengths. The goal is not to describe neural anatomy and physiology, but to be inspi ...
PDF text - Music Theory Online
... of the masking involved in various intervals, with a lower tone in middle treble register such as g 1 . For traditional consonances such as the M3 and P5, several partials of each tone are not masked, and many of those that are masked are so close in frequency that they do not produce sensory disson ...
... of the masking involved in various intervals, with a lower tone in middle treble register such as g 1 . For traditional consonances such as the M3 and P5, several partials of each tone are not masked, and many of those that are masked are so close in frequency that they do not produce sensory disson ...
File
... A series of notes can be grouped into a measure (also called bar). Melody (also called tune) is a sequence of measures (and therefore a sequence of notes) that creates the musical piece itself. For example, a melody could be defined as 620Hz– half-note, 1200Hz-whole-note, 840Hz-half-note, 660Hz–quar ...
... A series of notes can be grouped into a measure (also called bar). Melody (also called tune) is a sequence of measures (and therefore a sequence of notes) that creates the musical piece itself. For example, a melody could be defined as 620Hz– half-note, 1200Hz-whole-note, 840Hz-half-note, 660Hz–quar ...
Quick Guide To Chord Charts The term harmonic rhythm refers to
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
Here is the ligeti chamber concerto article
... Starting in measure 36 is an abrupt change in the total registral spread of the sonority. The pitch process here is not so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 38 with the addition of t ...
... Starting in measure 36 is an abrupt change in the total registral spread of the sonority. The pitch process here is not so much one of pitch and registral change but the creation of new, dense sonorities through the addition of tones. The process reaches a maxima in measure 38 with the addition of t ...
Subject and counter-subject detection for analysis of
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
Texture and Melody
... ! A polyphonic/contrapuntal texture consists of weaving together two or more equally important melodic lines, which all fit together harmonically ! A polyphonic/contrapuntal texture typically sounds ‘busy’ ...
... ! A polyphonic/contrapuntal texture consists of weaving together two or more equally important melodic lines, which all fit together harmonically ! A polyphonic/contrapuntal texture typically sounds ‘busy’ ...
Characterisation of composer style using high
... Mann [6, 7] whose writing is based directly upon studies of the 1725 publication ‘Gradus ad Parnassum’, an influential pedagogic study written by Johann Joseph Fux. The term counterpoint denotes music of two or more voices or parts which sound simultaneously and progress according to a system of rul ...
... Mann [6, 7] whose writing is based directly upon studies of the 1725 publication ‘Gradus ad Parnassum’, an influential pedagogic study written by Johann Joseph Fux. The term counterpoint denotes music of two or more voices or parts which sound simultaneously and progress according to a system of rul ...
The Line of Fifths
... pitch ± G] versus A[ ± may also be acoustically distinguished in systematic and significant ways; and it is natural to wonder if this might affect the spellings that were perceived. However, I will not explore this possibility here. A related issue is the historical development of tonality ± most no ...
... pitch ± G] versus A[ ± may also be acoustically distinguished in systematic and significant ways; and it is natural to wonder if this might affect the spellings that were perceived. However, I will not explore this possibility here. A related issue is the historical development of tonality ± most no ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you a major third down. Change of gender is called “parallel”. Hyer even argued, that all you actually nee ...
... third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you a major third down. Change of gender is called “parallel”. Hyer even argued, that all you actually nee ...
POWERPOINT JEOPARDY
... • A style used in operas, oratorios, and cantatas in which the text is declaimed in the rhythm of natural speech with slight melodic variation and little orchestral accompaniment. ...
... • A style used in operas, oratorios, and cantatas in which the text is declaimed in the rhythm of natural speech with slight melodic variation and little orchestral accompaniment. ...
Comparative (Ethno)Musicology. - Institut 13: Ethnomusikologie
... constitutes a first-rate source to be tapped in order to reconstruct local knowledge and emic views about music; it must not be ignored. However, no matter whether we “merely” want to communicate findings on one particular kind of music or actually attempt any explicitly cross-cultural comparisons w ...
... constitutes a first-rate source to be tapped in order to reconstruct local knowledge and emic views about music; it must not be ignored. However, no matter whether we “merely” want to communicate findings on one particular kind of music or actually attempt any explicitly cross-cultural comparisons w ...
Subject and counter-subject detection for analysis of the Well
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...