A Survey And Bibliography Of Chamber Music
... than usual when composers had a limited selection of available instruments. This would most often happen with pieces written for amateurs or students, rather than organized professional groups. The instrumentation of Vivaldi‟s concerti grossi was arguably influenced by which of his La Pieta students ...
... than usual when composers had a limited selection of available instruments. This would most often happen with pieces written for amateurs or students, rather than organized professional groups. The instrumentation of Vivaldi‟s concerti grossi was arguably influenced by which of his La Pieta students ...
How Music Works
... only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefore has the ration 4:3. This tuning system, which works very well for medieval mus ...
... only the intervals of the octave and fifth were perfectly in tune. In this system an octave is equal to the numerical ratio 2:1, while a fifth is equal to 3:2. The fourth is equal to an octave minus a fifth, and therefore has the ration 4:3. This tuning system, which works very well for medieval mus ...
Chapter One Introduction to Quarter
... chromatically, leading to the pitch Et; this motive is then echoed by the secondo. The primo repeats the motive, transposed down a semitone, and is again echoed by the secondo. This results in the motive moving through a sequence based on successive transpostions descending by quarter tone, but this ...
... chromatically, leading to the pitch Et; this motive is then echoed by the secondo. The primo repeats the motive, transposed down a semitone, and is again echoed by the secondo. This results in the motive moving through a sequence based on successive transpostions descending by quarter tone, but this ...
THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO
... music themselves for their instrument or voice. The contributions by these performer-composers to solo repertoire for their instruments constitute an interesting aspect of the history of western art music, one relevant in the discussion of limitations to said repertoire. There are numerous examples ...
... music themselves for their instrument or voice. The contributions by these performer-composers to solo repertoire for their instruments constitute an interesting aspect of the history of western art music, one relevant in the discussion of limitations to said repertoire. There are numerous examples ...
Glossary of musical terminology
... • diminuendo, dim.: dwindling; i.e., with gradually decreasing volume (same as decrescendo) • disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) • dissonante: dissonant • divisi or div.: divided; i.e., in a part ...
... • diminuendo, dim.: dwindling; i.e., with gradually decreasing volume (same as decrescendo) • disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) • dissonante: dissonant • divisi or div.: divided; i.e., in a part ...
Document
... with this tool can be exported in different formats to synchronise performing musician or for further use in other computer assisted composition environments. 2. MUSICAL CONTEXT The early 20th century witnessed the rise of many novel compositional techniques to handle musical time. By employing comp ...
... with this tool can be exported in different formats to synchronise performing musician or for further use in other computer assisted composition environments. 2. MUSICAL CONTEXT The early 20th century witnessed the rise of many novel compositional techniques to handle musical time. By employing comp ...
Notation in the Works of Luciano Berio
... examination of the composer's choices in notation may bring telling clues regarding the processes of composition. Many composers will say that notation is secondary to their composition. Berio said in interview: “Usually, I'm not concerned with notation itself. When I'm concerned, that means there's ...
... examination of the composer's choices in notation may bring telling clues regarding the processes of composition. Many composers will say that notation is secondary to their composition. Berio said in interview: “Usually, I'm not concerned with notation itself. When I'm concerned, that means there's ...
Joseph N. Straus, Twelve-Tone Music in America
... modernist baggage (presented here as myths), Straus is able to open up space for new approaches to this music. Accordingly, one can read an analysis of George Rochberg’s early twelve-tone music on its own terms—that is, without recourse to the composer’s later anti-serial polemics. On the other hand ...
... modernist baggage (presented here as myths), Straus is able to open up space for new approaches to this music. Accordingly, one can read an analysis of George Rochberg’s early twelve-tone music on its own terms—that is, without recourse to the composer’s later anti-serial polemics. On the other hand ...
Ornamentation in Giuseppe Tartini`s Traité des
... theories of baroque ornamentation,[2] (p. 6) the upper note start of the trill was given with monotonous regularity from the middle of the 17th century; it is to be found in the works of Playford, d'Angelbert, Muat, Purcell, Hottenterre, Couperin, Tosi, Rameau, Quantz, C.P.E. Bach, Marpurg, and Tü ...
... theories of baroque ornamentation,[2] (p. 6) the upper note start of the trill was given with monotonous regularity from the middle of the 17th century; it is to be found in the works of Playford, d'Angelbert, Muat, Purcell, Hottenterre, Couperin, Tosi, Rameau, Quantz, C.P.E. Bach, Marpurg, and Tü ...
Lesson_LLL_-_Mixture..
... if incorrect: “Incorrect. Try again.”] Mixture and basic interval progressions: Instances of mixture are often the result of adjustments made to the basic interval progressions outlined in Lesson 1. In all of the harmonic progressions considered in this lesson, the voiceleading is governed by the sa ...
... if incorrect: “Incorrect. Try again.”] Mixture and basic interval progressions: Instances of mixture are often the result of adjustments made to the basic interval progressions outlined in Lesson 1. In all of the harmonic progressions considered in this lesson, the voiceleading is governed by the sa ...
A Model of Musical Motifs
... (a1 vs. a2 ). Various musical aspects (e.g., the rhythm, melody, or harmony) can define the identity of a motif. A motif can be transformed in many ways, while retaining its identity. The user may define that some transformations are regarded as variations, while others are not (compare changing the ...
... (a1 vs. a2 ). Various musical aspects (e.g., the rhythm, melody, or harmony) can define the identity of a motif. A motif can be transformed in many ways, while retaining its identity. The user may define that some transformations are regarded as variations, while others are not (compare changing the ...
Estimating Resemblance of MIDI Documents
... up by one octave), the resulting piece would be subjectively similar, yet these two pieces would be deemed different by the computation described above. Ignoring octaves clearly resolves this problem. These examples demonstrate the difficulty involved in both adequately defining and calculating musical ...
... up by one octave), the resulting piece would be subjectively similar, yet these two pieces would be deemed different by the computation described above. Ignoring octaves clearly resolves this problem. These examples demonstrate the difficulty involved in both adequately defining and calculating musical ...
Timbre, Harmony, Orchestration, and Analysis, and Rautavaara`s
... Of course, I am begging an important question here: what is timbre anyway? While a perfectly legitimate question, this is also a dreadfully complicated one. The modern concept of timbre did not even emerge until the seventeenth century and did not enter common parlance until well into the eighteenth ...
... Of course, I am begging an important question here: what is timbre anyway? While a perfectly legitimate question, this is also a dreadfully complicated one. The modern concept of timbre did not even emerge until the seventeenth century and did not enter common parlance until well into the eighteenth ...
The flute in Handel`s vocal works
... Presumably it is no accident that the flute and violins moving homophonically over is absent from the B section of the da capo static bass lines. Purely instrumental mu aria, "Or missing thee, I walk unseen:' The settes for the flute occur in Il pastor fido difficulty of this flute part and others ...
... Presumably it is no accident that the flute and violins moving homophonically over is absent from the B section of the da capo static bass lines. Purely instrumental mu aria, "Or missing thee, I walk unseen:' The settes for the flute occur in Il pastor fido difficulty of this flute part and others ...
More than Meets the Ear
... We begin with a well-known story that John Cage recounted on several occasions. On 15 May 1958, Cage’s Concert for Piano and Orchestra premiered as the last piece of the evening for his 25th Year Retrospective Concert at Town Hall in New York City.1 This seminal composition of Cagean indeterminacy t ...
... We begin with a well-known story that John Cage recounted on several occasions. On 15 May 1958, Cage’s Concert for Piano and Orchestra premiered as the last piece of the evening for his 25th Year Retrospective Concert at Town Hall in New York City.1 This seminal composition of Cagean indeterminacy t ...
Introduction: Experimental, Minimalist, Postminimalist? Origins
... figures are incessantly repeated, often with some gradual change taking place, like lengthening or phase-shifting. Yet this cursory definition is, historically speaking, woefully incomplete. It omits the drone improvisations of La Monte Young’s The Theatre of Eternal Music (which must be dealt with ...
... figures are incessantly repeated, often with some gradual change taking place, like lengthening or phase-shifting. Yet this cursory definition is, historically speaking, woefully incomplete. It omits the drone improvisations of La Monte Young’s The Theatre of Eternal Music (which must be dealt with ...
Trio for Piano, Oboe and Bassoon
... Poulenc – Life and times • Francis Poulenc was born into a well-to-do family in Paris in 1899. His father was a director of a chemical company, while his mother, an amateur pianist, gave Poulenc his first lessons. She also instilled in him a love for Mozart, Chopin, Schumann, Scarlatti and Couperin ...
... Poulenc – Life and times • Francis Poulenc was born into a well-to-do family in Paris in 1899. His father was a director of a chemical company, while his mother, an amateur pianist, gave Poulenc his first lessons. She also instilled in him a love for Mozart, Chopin, Schumann, Scarlatti and Couperin ...
The role of copyists when preparing orchestral oboe parts from
... instrumental group, or vice versa. Such changes could be very rapid, especially when orchestral interjections occurred within solo vocal passages of an aria. Evidence from Zelenka’s surviving parts suggests that, at least in Dresden during the 1720s and 1730s, the orchestral ripieno section never ac ...
... instrumental group, or vice versa. Such changes could be very rapid, especially when orchestral interjections occurred within solo vocal passages of an aria. Evidence from Zelenka’s surviving parts suggests that, at least in Dresden during the 1720s and 1730s, the orchestral ripieno section never ac ...
Claude Debussy The Piano Music
... mystery here is enhanced by the burial of the principal line in the middle of the opening chords, from which it emerges in the third bar. According to one of Debussy’s biographers, the title refers to a sculpture of three dancers in the Louvre. The title Voiles (Sails or Veils) continues to be the s ...
... mystery here is enhanced by the burial of the principal line in the middle of the opening chords, from which it emerges in the third bar. According to one of Debussy’s biographers, the title refers to a sculpture of three dancers in the Louvre. The title Voiles (Sails or Veils) continues to be the s ...
Beethoven Symphony No 1, Movements 1 and 2
... Teacher Resource Bank / A-level Music / MUSC1 Beethoven / Version 1.0 ...
... Teacher Resource Bank / A-level Music / MUSC1 Beethoven / Version 1.0 ...
Confirma hoc
... planus or plainsong. It is the tradition on which western music is based. In any event, the Gregorian chants are one of the great treasures of Western civilization. Like Romanesque architecture, they stand as a monument to medieval man’s religious faith; they were the source and inspiration of a lar ...
... planus or plainsong. It is the tradition on which western music is based. In any event, the Gregorian chants are one of the great treasures of Western civilization. Like Romanesque architecture, they stand as a monument to medieval man’s religious faith; they were the source and inspiration of a lar ...
General Principles of Harmony by Alan Belkin
... basses with elaborate figures, is an outcome of continuo practice. However whereas the latter used figures as a shortcut, the pedagogical extensions of this method are extremely cumbersome, with the result that the student spends a great deal of time and effort becoming familiar with an elaborate an ...
... basses with elaborate figures, is an outcome of continuo practice. However whereas the latter used figures as a shortcut, the pedagogical extensions of this method are extremely cumbersome, with the result that the student spends a great deal of time and effort becoming familiar with an elaborate an ...
Guide to Piano Quartets
... the qualifications that the writer brings to his task. I have had the through or to work on. opportunity to play several times a week and regularly perform Still, no one person is going to know it all and I make no claim to chamber music for the past 40 years, mostly in amateur groups, this. Even Co ...
... the qualifications that the writer brings to his task. I have had the through or to work on. opportunity to play several times a week and regularly perform Still, no one person is going to know it all and I make no claim to chamber music for the past 40 years, mostly in amateur groups, this. Even Co ...
Musical Rhetoric in Three Praeludia of Dietrich Buxtehude
... co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes three main seventeenth-century compositional styles: Stylus Gravis, Stylus Luxurian ...
... co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes three main seventeenth-century compositional styles: Stylus Gravis, Stylus Luxurian ...
Estimating Resemblance of MIDI Documents
... 1.2 Review: Hashing techniques for text similarity We review previously known techniques based on hashing for determining when text documents are syntactically similar. Here we follow the work of Broder [6], although there are other similar treatments [9, 10]. Each document may be considered as a se ...
... 1.2 Review: Hashing techniques for text similarity We review previously known techniques based on hashing for determining when text documents are syntactically similar. Here we follow the work of Broder [6], although there are other similar treatments [9, 10]. Each document may be considered as a se ...