the bells themselves Few composers today explore so poetic and
... he studied Schenkerian analysis with some of its most recognized theorists, including Felix Salzer and Carl Schachter. It was the multidimensional graphic nature of Schenkerian analysis that most interested Richards, particularly its focus on various interrelated levels of musical activity that oper ...
... he studied Schenkerian analysis with some of its most recognized theorists, including Felix Salzer and Carl Schachter. It was the multidimensional graphic nature of Schenkerian analysis that most interested Richards, particularly its focus on various interrelated levels of musical activity that oper ...
PDF - Academic Commons
... Grant focuses on "the dean of Broadway orchestration;' Robert Russell Bennett (1894-1981), who worked on some 300 shows, including many by Berlin, Gershwin, Kern, and Rodgers. The terms "orchestration" and "arrangement" barely begin to capture Bennett's activities. Much of the score that we tend to ...
... Grant focuses on "the dean of Broadway orchestration;' Robert Russell Bennett (1894-1981), who worked on some 300 shows, including many by Berlin, Gershwin, Kern, and Rodgers. The terms "orchestration" and "arrangement" barely begin to capture Bennett's activities. Much of the score that we tend to ...
Final PDF Backstrom - Critical Studies in Improvisation
... Giving many examples in which composers have revised or otherwise changed one of their works postpublication or post-first performance, he argues that just as the beginnings of musical creativity are inevitably the product of a kind of socially situated discursive improvisation, so are its endings. ...
... Giving many examples in which composers have revised or otherwise changed one of their works postpublication or post-first performance, he argues that just as the beginnings of musical creativity are inevitably the product of a kind of socially situated discursive improvisation, so are its endings. ...
Nonlinear Mosaic Form: Kraanerg by Iannis Xenakis
... In the visual domain, a mosaic is understood as a composite image made up of small pieces of marble, glass, stone, or other material. As an art form, mosaics were developed by the Greeks, achieving maturity by the 4th century B.C. This art form was taken up by the Romans, and later by Byzantium arti ...
... In the visual domain, a mosaic is understood as a composite image made up of small pieces of marble, glass, stone, or other material. As an art form, mosaics were developed by the Greeks, achieving maturity by the 4th century B.C. This art form was taken up by the Romans, and later by Byzantium arti ...
DMA Document Proposal Example #1
... Ricardo Lorenz, “Voices in Limbo,” Unpublished paper, 1999, 98. ...
... Ricardo Lorenz, “Voices in Limbo,” Unpublished paper, 1999, 98. ...
Bibliography
... voice. In consequence, the singer will produce sounds with more clarity, brilliance, and pitch exactness. This will not produce a rapid transformation. In fact, one study demonstrated that out of twelve female sopranos, the only one who completed the short-term vocalise training program, did not imp ...
... voice. In consequence, the singer will produce sounds with more clarity, brilliance, and pitch exactness. This will not produce a rapid transformation. In fact, one study demonstrated that out of twelve female sopranos, the only one who completed the short-term vocalise training program, did not imp ...
Clean as a Whistle - Music Theory Online
... tendency reflected in language that equates knowledge with vision (“I see your point”) and renders aural information less credible (“hearsay,” “word of mouth”). But if we are inclined to characterize vision as the most vivid and active sense, it is in part because the human ocular system is under ou ...
... tendency reflected in language that equates knowledge with vision (“I see your point”) and renders aural information less credible (“hearsay,” “word of mouth”). But if we are inclined to characterize vision as the most vivid and active sense, it is in part because the human ocular system is under ou ...
CHANTS NOSTALGIQUES BY CONSTANTIN SILVESTRI – AN
... Bulletin of the Transilvania University of Braşov Series VIII: Art • Sport • Vol. 5 (54) No. 1 - 2012 ...
... Bulletin of the Transilvania University of Braşov Series VIII: Art • Sport • Vol. 5 (54) No. 1 - 2012 ...
Lindsey Steinbrunner
... also modified. The harmonies are tertian, quartal, or secundal and there are sudden tonal shifts. Time organization completely changes. Meters can by symmetric or asymmetric, may change frequently, and can be juxtaposed to create polymeters. The metric stress shifts to beats other than the strong be ...
... also modified. The harmonies are tertian, quartal, or secundal and there are sudden tonal shifts. Time organization completely changes. Meters can by symmetric or asymmetric, may change frequently, and can be juxtaposed to create polymeters. The metric stress shifts to beats other than the strong be ...
Molly on the Shore for Primary or less experienced music students
... Repeat signs tell you that a section of music has to be played again (repeated). Anacrusis are notes taken from the last bar of the music and placed before the first beat to lead in the music. Triplet is a rhythm where 3 notes must be played evenly in the one beat. There are 6 triplets rhythms in th ...
... Repeat signs tell you that a section of music has to be played again (repeated). Anacrusis are notes taken from the last bar of the music and placed before the first beat to lead in the music. Triplet is a rhythm where 3 notes must be played evenly in the one beat. There are 6 triplets rhythms in th ...
An Extended Analysis of Krzysztof Penderecki`s
... Brief Examination of Formal Structure The prospect of analyzing new 20th century techniques like 12tone or serialism were daunting until theorists learned how to identify the strategies of these genres, for instance, with 12tone music discerning what the tonerow was, and finding all of its perm ...
... Brief Examination of Formal Structure The prospect of analyzing new 20th century techniques like 12tone or serialism were daunting until theorists learned how to identify the strategies of these genres, for instance, with 12tone music discerning what the tonerow was, and finding all of its perm ...
Democratic Theory and Musical Improvisation
... further and does not ascribed radical democracy to political parties, but wants democracy’s practice to be that of any group forming their political stance and voice together without ‘any particular framework’ (i.e., that of popular discourse or political parties). This self-made group, for him, is ...
... further and does not ascribed radical democracy to political parties, but wants democracy’s practice to be that of any group forming their political stance and voice together without ‘any particular framework’ (i.e., that of popular discourse or political parties). This self-made group, for him, is ...
The Problem of Articulation in Stravinsky`s Music
... of similar instruments using opposing types of articulation. For example, two flutes will be joined in unison on a melodic passage; the first flute will play even, legato notes, while the second flute will produce the same pitches staccato, or doubled-tongued, or withcross-accenting, or interspersed ...
... of similar instruments using opposing types of articulation. For example, two flutes will be joined in unison on a melodic passage; the first flute will play even, legato notes, while the second flute will produce the same pitches staccato, or doubled-tongued, or withcross-accenting, or interspersed ...
Introduction I began studying with Harold Goltzer, then associate
... this Xeroxed version to his other students, and it is upon this and my own recollection that I have based my edition. Stories abound regarding Harold Goltzer and his scale studies. The legend passed among the bassoon students at Manhattan was that Mr. Goltzer had difficulty mastering bassoon techniq ...
... this Xeroxed version to his other students, and it is upon this and my own recollection that I have based my edition. Stories abound regarding Harold Goltzer and his scale studies. The legend passed among the bassoon students at Manhattan was that Mr. Goltzer had difficulty mastering bassoon techniq ...
Frederic Chopin (1810
... designed to emphasize a specific keyboard characteristic or challenge, their unparalleled craftsmanship and their range in mood -- from the hauntingly lyrical to the dazzlingly virtuosic -elevate the music from that of mere "exercises" to the realm of the ingeniously imaginative, as exemplified by t ...
... designed to emphasize a specific keyboard characteristic or challenge, their unparalleled craftsmanship and their range in mood -- from the hauntingly lyrical to the dazzlingly virtuosic -elevate the music from that of mere "exercises" to the realm of the ingeniously imaginative, as exemplified by t ...
Nineteenth-Century Britain and Musical Representations of Asia
... the east by the Pacific Ocean. On the South by the Indian Ocean . . . [and] On the west by the Red Sea, the Mediterranean Sea, the Caucasus Mountains, the Caspian Sea, the Ural River, and the Ural Mountains.”1 Within Asia British imperial holdings were of course concentrated in certain regions of So ...
... the east by the Pacific Ocean. On the South by the Indian Ocean . . . [and] On the west by the Red Sea, the Mediterranean Sea, the Caucasus Mountains, the Caspian Sea, the Ural River, and the Ural Mountains.”1 Within Asia British imperial holdings were of course concentrated in certain regions of So ...
Table of Contents
... number of “chant” traditions. Gregorian Chants became the most common and enduring form. These are the chants that were organized by Pope Gregory the Great (540-604.) They were sung in unison, without any accompaniment. Their melodies were built on a number of musical scales, two of which approximat ...
... number of “chant” traditions. Gregorian Chants became the most common and enduring form. These are the chants that were organized by Pope Gregory the Great (540-604.) They were sung in unison, without any accompaniment. Their melodies were built on a number of musical scales, two of which approximat ...
STRUCTURE AND SYMMETRY IN IANNIS xENAKIS` NOMOS
... Iannis Xenakis’ Nomos Alpha for violoncello is commonly considered as one of the masterpieces of the Twentieth Century repertoire for solo instruments. It represents one of the major musical realizations of what Xenakis called “symbolic music” (Xenakis 1992), a category that includes pieces based on ...
... Iannis Xenakis’ Nomos Alpha for violoncello is commonly considered as one of the masterpieces of the Twentieth Century repertoire for solo instruments. It represents one of the major musical realizations of what Xenakis called “symbolic music” (Xenakis 1992), a category that includes pieces based on ...
Flow My Tears - davenantperformingarts
... • Imitation – If a motif in one part is immediately taken up by another part while the first part continues with other music, the music is said to be treated in imitation. The basic melodic shape and rhythm of the opening should be audible, but the imitation is usually not exact • Word-Painting – Th ...
... • Imitation – If a motif in one part is immediately taken up by another part while the first part continues with other music, the music is said to be treated in imitation. The basic melodic shape and rhythm of the opening should be audible, but the imitation is usually not exact • Word-Painting – Th ...
a pdf - The Astro Home Page
... But the title has another, more practical meaning a broad spectrum of composers, including George Gershwin for the composer. In his program notes to Looking Back and Anton Webern. For some reason my high school had (for flute and piano), he writes, “Often when beginning scores of Webern! And I would ...
... But the title has another, more practical meaning a broad spectrum of composers, including George Gershwin for the composer. In his program notes to Looking Back and Anton Webern. For some reason my high school had (for flute and piano), he writes, “Often when beginning scores of Webern! And I would ...
Robert O. Gjerdingen, Music in the Galant Style Journal of the
... his work relates closely, it is Daniel Heartz’s Music in European Capitals: The Galant Style 1720–1780, to which Gjerdingen pays warm tribute as providing ‘a wealth of historical and biographical detail that complements my own, more modest volume’ (viii).1 Together, Heartz and Gjerdingen form ‘as it ...
... his work relates closely, it is Daniel Heartz’s Music in European Capitals: The Galant Style 1720–1780, to which Gjerdingen pays warm tribute as providing ‘a wealth of historical and biographical detail that complements my own, more modest volume’ (viii).1 Together, Heartz and Gjerdingen form ‘as it ...
The Revolutionary Hypothesis behind the Battle for C=256
... of performance; on the contrary, it gives it something more noble, fuller, and more majestic, which could not be given by the screams of a too-high tuning. "As far as I am concerned, I desire a single tuning for the whole musical world. Music is a universal language: Why should a note, which is call ...
... of performance; on the contrary, it gives it something more noble, fuller, and more majestic, which could not be given by the screams of a too-high tuning. "As far as I am concerned, I desire a single tuning for the whole musical world. Music is a universal language: Why should a note, which is call ...
ABSTRACT DISSERTATION: Style and Compositional Techniques in Vincent Persichetti’s Ten Sonatas... Harpsichord
... COLLEGE: College of Fine Arts, School of Music DATE: December, 2009 PAGES: 124 ...
... COLLEGE: College of Fine Arts, School of Music DATE: December, 2009 PAGES: 124 ...
Auditory Fusion in Xenakis` Pithoprakta
... the timbre. Because of the way our auditory system is constructed and the way it functions, two or more simultaneous sound streams that have timbral similarities are easily perceived as forming a coherent whole. The timbre similarities of bar 14 are probably evident as all of the musicians play a pe ...
... the timbre. Because of the way our auditory system is constructed and the way it functions, two or more simultaneous sound streams that have timbral similarities are easily perceived as forming a coherent whole. The timbre similarities of bar 14 are probably evident as all of the musicians play a pe ...
A Brief Survey of Music Representation Issues, Techniques, and
... Music notation is a rich source of representational problems. One of the key problems is that music notation is not just a mechanical transformation of performance information. Performance nuance is lost going from performance to notation, and symbolic structure is lost in the translation from notat ...
... Music notation is a rich source of representational problems. One of the key problems is that music notation is not just a mechanical transformation of performance information. Performance nuance is lost going from performance to notation, and symbolic structure is lost in the translation from notat ...
Music theory
Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music.Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle. As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonance, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production. A person who researches, teaches, or writes articles about music theory is a music theorist. University study, typically to the M.A. or Ph.D level, is required to teach as a tenure-track music theorist in an American or Canadian university. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used.The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia, Pharoanic Egypt, and ancient China have also considered music theory in more formal ways such as written treatises and music notation.