Evocations of Nature in the Piano Music of Franz Liszt and the Seeds
... Liszt scholarship of recent decades has produced research along many lines of inquiry in an endeavor to increase recognition of the composer as one of the most important and influential musical figures ...
... Liszt scholarship of recent decades has produced research along many lines of inquiry in an endeavor to increase recognition of the composer as one of the most important and influential musical figures ...
Nicola Vicentino and the Enharmonic Diesis
... opportunity to have been a research assistant for Professors Wild and McAdams; the assistantship was funded by the Canadian Social Sciences and Humanities Research Council (SSHRC). I am thankful to Professor Wild and Professor Peter Schubert for creating the recordings of Vicentino’s music as part o ...
... opportunity to have been a research assistant for Professors Wild and McAdams; the assistantship was funded by the Canadian Social Sciences and Humanities Research Council (SSHRC). I am thankful to Professor Wild and Professor Peter Schubert for creating the recordings of Vicentino’s music as part o ...
Know Your Chords - Alan`s Guitar Page
... array of chord shapes with sometimes cryptic names. After a while you start to get used to which chords work together and maybe you start putting your own words and tunes to them. Yet there never seems to be anything intuitive about them and not much information about where to put your fingers to ma ...
... array of chord shapes with sometimes cryptic names. After a while you start to get used to which chords work together and maybe you start putting your own words and tunes to them. Yet there never seems to be anything intuitive about them and not much information about where to put your fingers to ma ...
Musical allusion to The Rite of Spring in four contemporary works for
... Burkholder describes fourteen categories of musical borrowing that he identified in his research on the works of Charles Ives.17 These categories provide a foundation for the study of existing music in general. He groups these categories into three general classifications: methods of adaptation (suc ...
... Burkholder describes fourteen categories of musical borrowing that he identified in his research on the works of Charles Ives.17 These categories provide a foundation for the study of existing music in general. He groups these categories into three general classifications: methods of adaptation (suc ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
Chords symbols and their chords
... gives just the melody and chord symbols (plus maybe lyrics) is called a lead sheet. With an understanding of chord symbols and a little bit of talent, a pianist or guitarist or other instrumentalist can construct an acceptable accompaniment from a lead sheet. ...
... gives just the melody and chord symbols (plus maybe lyrics) is called a lead sheet. With an understanding of chord symbols and a little bit of talent, a pianist or guitarist or other instrumentalist can construct an acceptable accompaniment from a lead sheet. ...
An analysis of and conductor`s guide to Vincent Persichetti`s
... The purpose of this study is to provide a detailed analysis of Vincent Persichetti’s Masquerade for Band, which will include a conductor’s guide focusing upon both technical and interpretive aspects, a brief biography of Vincent Persichetti, and background information pertaining to the creation of t ...
... The purpose of this study is to provide a detailed analysis of Vincent Persichetti’s Masquerade for Band, which will include a conductor’s guide focusing upon both technical and interpretive aspects, a brief biography of Vincent Persichetti, and background information pertaining to the creation of t ...
Dissonant Harmony and “Seed-Tones”
... the almost total lack of scrutiny his music has received. Even in these analyses, however, Ertan’s emphasis remains on Rudhyar’s philosophy; she mostly explores the poetic and symbolic application of his philosophical ideas to his music. (2) [1.7] In this essay, I complement Ertan’s groundbreaking e ...
... the almost total lack of scrutiny his music has received. Even in these analyses, however, Ertan’s emphasis remains on Rudhyar’s philosophy; she mostly explores the poetic and symbolic application of his philosophical ideas to his music. (2) [1.7] In this essay, I complement Ertan’s groundbreaking e ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... Fig. 2.1: Overview of De l’aube à midi sur la mer........................................................................20 Fig. 2.2: Overview of Jeux de vagues ............................................................................................20 Fig. 2.3: Alternate form for Jeux de vagues. ...
... Fig. 2.1: Overview of De l’aube à midi sur la mer........................................................................20 Fig. 2.2: Overview of Jeux de vagues ............................................................................................20 Fig. 2.3: Alternate form for Jeux de vagues. ...
Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
PDF text
... [5] Discursive themes may be as long as or longer than grammatical themes; still, although they develop their material rather than repeat it (therefore distinguishing them from ostinato-based motto themes), they lack a grammatical theme’s division into beginning–end halves. The component ideas of di ...
... [5] Discursive themes may be as long as or longer than grammatical themes; still, although they develop their material rather than repeat it (therefore distinguishing them from ostinato-based motto themes), they lack a grammatical theme’s division into beginning–end halves. The component ideas of di ...
Joseph N. Straus, Twelve-Tone Music in America
... composers have employed, Straus attempts to situate their music within broader theoretical and historical contexts. “Context” takes an unusual form, however: in Part Two, titled “American twelve-tone music in context,” Straus refutes nineteen “myths” regarding the creation, history, and reception of ...
... composers have employed, Straus attempts to situate their music within broader theoretical and historical contexts. “Context” takes an unusual form, however: in Part Two, titled “American twelve-tone music in context,” Straus refutes nineteen “myths” regarding the creation, history, and reception of ...
Tone and Voice: A Derivation of the Rules of Voice
... and posing questions for further research. Note that the purpose of this article is not somehow to “vindicate” or otherwise act as an apologist for the traditional rules of Western harmony. Nor is the intent to restrict in any way the creative enterprise of musical composition. If a composer chooses ...
... and posing questions for further research. Note that the purpose of this article is not somehow to “vindicate” or otherwise act as an apologist for the traditional rules of Western harmony. Nor is the intent to restrict in any way the creative enterprise of musical composition. If a composer chooses ...
Expression and Discrétion: Froberger, Bach, and Performance
... of notes within the beat. It reflected the rise of a specifically Baroque style of written-out embellishment which, unlike earlier types of melodic and harmonic elaboration, involved the irregular division of the beat. The effort to preserve this style of embellishment in writing led Froberger and l ...
... of notes within the beat. It reflected the rise of a specifically Baroque style of written-out embellishment which, unlike earlier types of melodic and harmonic elaboration, involved the irregular division of the beat. The effort to preserve this style of embellishment in writing led Froberger and l ...
Expanded tonality - Scholar Commons
... tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in origin, it also has the important function of generating harmonic material. As compos ...
... tonality. With the use of the wedge concept in relation to the tonic and dominant, both pitches and their respective chords have a similar potential in establishing tonal structure. While this concept is melodic in origin, it also has the important function of generating harmonic material. As compos ...
Write like Mozart – lecture notes Table of Contents
... Analysis: Beethoven's bagatelle, op. 119 #1......................................................................................53 Harmonic analysis of the first and third phrases............................................................................54 Harmonic analysis of the second phrase... ...
... Analysis: Beethoven's bagatelle, op. 119 #1......................................................................................53 Harmonic analysis of the first and third phrases............................................................................54 Harmonic analysis of the second phrase... ...
A Theory of Tonal Hierarchies in Music
... The first is the existence of cognitive reference points (Rosch and Mervis 1975; Rosch 1975, 1978, 1979), which motivated the initial empirical studies of tonal hierarchies (Krumhansl 1979; Krumhansl and Shepard 1979; Krumhansl and Kessler 1982). Within categories, certain perceptual and conceptual ...
... The first is the existence of cognitive reference points (Rosch and Mervis 1975; Rosch 1975, 1978, 1979), which motivated the initial empirical studies of tonal hierarchies (Krumhansl 1979; Krumhansl and Shepard 1979; Krumhansl and Kessler 1982). Within categories, certain perceptual and conceptual ...
A Musical Analysis-of-the- Transformations-of-the-Baker-and
... see how these dramatic transformations are embedded in the music. As primary examples, the Baker and the Baker’s Wife are extremely complex characters that can only be fully represented with their respective music. Furthermore, through musical compare and contrast, the different personalities of the ...
... see how these dramatic transformations are embedded in the music. As primary examples, the Baker and the Baker’s Wife are extremely complex characters that can only be fully represented with their respective music. Furthermore, through musical compare and contrast, the different personalities of the ...
Claude Debussy The Piano Music
... himself said the piece “is not a photograph of the beach”. But he could be mischievously misleading about such things. Either way, there are connotations of floating and billowing, brought out by Debussy’s use of the vague and undirected whole-tone scales, and a clear link to the action of the wind ...
... himself said the piece “is not a photograph of the beach”. But he could be mischievously misleading about such things. Either way, there are connotations of floating and billowing, brought out by Debussy’s use of the vague and undirected whole-tone scales, and a clear link to the action of the wind ...
Music - The Colorado Education Initiative
... Classify and describe various aural examples of music from a given musical genre, style, historical period, and/or culture and explain the reasoning for the classification (DOK 1-2). ...
... Classify and describe various aural examples of music from a given musical genre, style, historical period, and/or culture and explain the reasoning for the classification (DOK 1-2). ...
Troubles with Tonal Terminology
... contains three differently named tones, chord numbers 3 and 8 are tetrads (four differently named tones) and number 9 is a pentad (five). So far, so good: chords 5, 6 and 7 are quartal triads, chord 8 a quartal tetrad and chord 9 a quartal pentad. The trouble starts ...
... contains three differently named tones, chord numbers 3 and 8 are tetrads (four differently named tones) and number 9 is a pentad (five). So far, so good: chords 5, 6 and 7 are quartal triads, chord 8 a quartal tetrad and chord 9 a quartal pentad. The trouble starts ...
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 ...
What Is a CadenCe?
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
crystallization of the sonata form in frederic chopin`s vision
... they composed for one or two musical instruments was shaped into sonata, the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt ...
... they composed for one or two musical instruments was shaped into sonata, the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt ...