Overview - West Ada
... according to the given performance style. Assess performances, as both performer and audience member. Describe the use of body language, facial expression, and other visual and sensory elements of performance. ...
... according to the given performance style. Assess performances, as both performer and audience member. Describe the use of body language, facial expression, and other visual and sensory elements of performance. ...
The Baroque 1/4
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
Tonal Atonality: An Analysis of Samuel Barber`s
... With an oeuvre consisting of orchestral works, piano pieces, songs, and operas, Samuel Barber made his distinct style well-known through many genres. His pieces reveal a very unique compositional language. Even in his most conventional works, he displays daring and fresh ideas that grab the attentio ...
... With an oeuvre consisting of orchestral works, piano pieces, songs, and operas, Samuel Barber made his distinct style well-known through many genres. His pieces reveal a very unique compositional language. Even in his most conventional works, he displays daring and fresh ideas that grab the attentio ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully unders ...
... features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully unders ...
View printable PDF of 6.7 Contemporary Chords and Harmonic
... More examples of secundal chords: ...
... More examples of secundal chords: ...
Generating Guitar Scores from a MIDI Source
... commercial staff-drawing software packages have made this capability as one of their features. Therefore, we do not describe this process in details. For more information on this topic, see [1]0. 3.2. Chord matching: The goal in this step is to select appropriate chords for the simple score using an ...
... commercial staff-drawing software packages have made this capability as one of their features. Therefore, we do not describe this process in details. For more information on this topic, see [1]0. 3.2. Chord matching: The goal in this step is to select appropriate chords for the simple score using an ...
投影片 1
... unique aspects of these media (rather than using them as a substitution of acoustic instruments, for example) Unlike the reference recording for compositions written for acoustic instruments/ voices, the recording quality for pieces written for electronics weights highly ...
... unique aspects of these media (rather than using them as a substitution of acoustic instruments, for example) Unlike the reference recording for compositions written for acoustic instruments/ voices, the recording quality for pieces written for electronics weights highly ...
Hierarchical perception of melody
... absence of a strict hierarchical structure that can be observed analytically. It is conceivable that the melody activates a tonal schema that implies a hierarchical organization. That is, the tonal character of the melody makes it possible to abstract some degree of hierarchical structure, even thou ...
... absence of a strict hierarchical structure that can be observed analytically. It is conceivable that the melody activates a tonal schema that implies a hierarchical organization. That is, the tonal character of the melody makes it possible to abstract some degree of hierarchical structure, even thou ...
Jeffrey Perry
... continued on to a tonicization ofF major, F minor, A-flat major and so back to A-flat minor. As Schenker has brilliantly illustrated, however, Beethoven situates his chromatic tonicizations of B major and minor firmly within a diatonic framework. The thickly scored bass-register chords that confirme ...
... continued on to a tonicization ofF major, F minor, A-flat major and so back to A-flat minor. As Schenker has brilliantly illustrated, however, Beethoven situates his chromatic tonicizations of B major and minor firmly within a diatonic framework. The thickly scored bass-register chords that confirme ...
Elementary Curriculum Map
... MU.5.H.1.1: Identify the purposes for which music is used within various cultures MU.5.H.1.2: Compare and describe the compositional characteristics used by two or more composers whose works are studied in this class. MU.5.H.2.2: Describe how technology has changed the way audiences experience music ...
... MU.5.H.1.1: Identify the purposes for which music is used within various cultures MU.5.H.1.2: Compare and describe the compositional characteristics used by two or more composers whose works are studied in this class. MU.5.H.2.2: Describe how technology has changed the way audiences experience music ...
89 MUSICAL LITERACY: A HISTORICAL PERSPECTIVE Prof. Dr
... conductor can follow, and some composers feel obliged to call the conductor’s attention to specific parts within the score. [SLIDE 4: Schoenberg, Five Pieces for Orchestra, Opus 16, no. 2.] Here is a page from the second of Schoenberg’s Five Pieces for Orchestra, Opus 16, to which the composer or pr ...
... conductor can follow, and some composers feel obliged to call the conductor’s attention to specific parts within the score. [SLIDE 4: Schoenberg, Five Pieces for Orchestra, Opus 16, no. 2.] Here is a page from the second of Schoenberg’s Five Pieces for Orchestra, Opus 16, to which the composer or pr ...
Neo-Riemannian Theory and the Analysis of Pop
... this chord progression—the D- triad comes first and is metrically emphasized.13 A Roman numeral analysis such as i–iii – I–VI, shown in Example 2(b), does little to explain the progression’s organization. Reading D + as I—a major inflection of the triad on the flatted tonic degree—is awkward ...
... this chord progression—the D- triad comes first and is metrically emphasized.13 A Roman numeral analysis such as i–iii – I–VI, shown in Example 2(b), does little to explain the progression’s organization. Reading D + as I—a major inflection of the triad on the flatted tonic degree—is awkward ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... additive rhythm -- passages in which some short note value remains constant but is used in groups of predictably varying lengths ametric -- music in which there is no perceivable metric organization assymetrical meter -- usually, meters with 5 or 7 as the top number beat -- the basic pulse in music ...
... additive rhythm -- passages in which some short note value remains constant but is used in groups of predictably varying lengths ametric -- music in which there is no perceivable metric organization assymetrical meter -- usually, meters with 5 or 7 as the top number beat -- the basic pulse in music ...
4th 9 weeks
... eight-measure melody. IM.3.3.2 Create a simple rhythmic and chordal accompaniment for an eight-measure melody. IM.3.3.3 Create a simple chordal and rhythmic accompaniment employing syncopation for an eight-measure melody. ...
... eight-measure melody. IM.3.3.2 Create a simple rhythmic and chordal accompaniment for an eight-measure melody. IM.3.3.3 Create a simple chordal and rhythmic accompaniment employing syncopation for an eight-measure melody. ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
glossary of musical terms - Western Michigan University
... minuet and trio form: the traditional third-movement form of the Classic 4-movement design, based on an aristocratic dance in 3/4 meter mode: a scale or key used in a musical composition (major and minor are modes, as are ancient modal scales found in Western music before c.1680 moderato: a moderate ...
... minuet and trio form: the traditional third-movement form of the Classic 4-movement design, based on an aristocratic dance in 3/4 meter mode: a scale or key used in a musical composition (major and minor are modes, as are ancient modal scales found in Western music before c.1680 moderato: a moderate ...
Chapter 10 Harmonic Progression
... You must use half or authentic cadences for the final two notes of each phrase You should use circle progressions throughout each phrase Harmonize each melody note with one chord. It is possible to repeat chords, but add inversions for variety Use first inversion chords to make a smoother bass ...
... You must use half or authentic cadences for the final two notes of each phrase You should use circle progressions throughout each phrase Harmonize each melody note with one chord. It is possible to repeat chords, but add inversions for variety Use first inversion chords to make a smoother bass ...
Aalborg Universitet Automatic Phrase Continuation from Guitar and Bass guitar Melodies
... patterns, rhythm evolution and overall structure, and using these trained models to generate stylistically similar music. Probably the most popular example where computers are made to imitate musical style is David Cope’s system called Experiments in Musical Intelligence (EMI). EMI analyses the scor ...
... patterns, rhythm evolution and overall structure, and using these trained models to generate stylistically similar music. Probably the most popular example where computers are made to imitate musical style is David Cope’s system called Experiments in Musical Intelligence (EMI). EMI analyses the scor ...
Sheet Music - Murray High School, Lavington
... types of layers that are present in it and then consider how the composer has treated each layer. • It is important to identify what these layers are doing ...
... types of layers that are present in it and then consider how the composer has treated each layer. • It is important to identify what these layers are doing ...
Shifted Downbeats in Classic and Romantic
... are composed of seven quarter-note chords followed by a longer chord and rest (if one excuses from consideration the sixteenth-note anticipation at the ending). All but the second phrase would have eight syllables if it was a chorale with text. Thus, the metrical organization shown in ibis simpler a ...
... are composed of seven quarter-note chords followed by a longer chord and rest (if one excuses from consideration the sixteenth-note anticipation at the ending). All but the second phrase would have eight syllables if it was a chorale with text. Thus, the metrical organization shown in ibis simpler a ...
Keynote Presentation
... musicological problems are rarely employed even when they would save time, expand the scope of projects, or quickly find important exceptions to overly broad pronouncements. The music21 project (http://web.mit.edu/music21) expands the audience for computational musicology by creating a new toolkit b ...
... musicological problems are rarely employed even when they would save time, expand the scope of projects, or quickly find important exceptions to overly broad pronouncements. The music21 project (http://web.mit.edu/music21) expands the audience for computational musicology by creating a new toolkit b ...
Facial expression and piano performance
... Previous studies (Caterina et al. 2004) carried out on the body and facial expressions of pianists during their performances, have shown that there is a specific relation between non verbal expressions and music structure. We tried to compare the value of single facial action unit movements– such as ...
... Previous studies (Caterina et al. 2004) carried out on the body and facial expressions of pianists during their performances, have shown that there is a specific relation between non verbal expressions and music structure. We tried to compare the value of single facial action unit movements– such as ...
Fluctuant grouping in a Silk-and
... Fluctuant grouping in a Silk-and-Bamboo melody John Roeder Many of world's enduring musical traditions consist of a corpus of fixed melodies, each a succession of scale degrees in a rhythm governed by an underlying periodicity. In describing these repertoires, scholars seek to classify the melodie ...
... Fluctuant grouping in a Silk-and-Bamboo melody John Roeder Many of world's enduring musical traditions consist of a corpus of fixed melodies, each a succession of scale degrees in a rhythm governed by an underlying periodicity. In describing these repertoires, scholars seek to classify the melodie ...
Tonic and Dominant
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...