Abstracts
... The chant book Trezvony The article offers an analysis of the Russian notated chant collection Trezvony: its structure, paleographical features, and connections to other liturgical books. Creation of Trezvony in the second half of the 16th century was caused by the growth of the chant repertory and ...
... The chant book Trezvony The article offers an analysis of the Russian notated chant collection Trezvony: its structure, paleographical features, and connections to other liturgical books. Creation of Trezvony in the second half of the 16th century was caused by the growth of the chant repertory and ...
Changing Musical Time at the Beginning of the Renaissance (and
... notes or dotted eighth notes. This new way of thinking is intimately connected to the rise of musical notation, and in particular, the use of notation to show relationships among two or more coordinated parts. Pitch needed its own vocabulary even in the era of unwritten music—organs needed to be bui ...
... notes or dotted eighth notes. This new way of thinking is intimately connected to the rise of musical notation, and in particular, the use of notation to show relationships among two or more coordinated parts. Pitch needed its own vocabulary even in the era of unwritten music—organs needed to be bui ...
MUSICAL
... and is essential to emotional processing. The limbic system has no words, selfevaluation, or criticism. It is deeper, stronger, and more elemental to our basic nature than any other source of our “brain power.” LEARNING CAPACITIES ...
... and is essential to emotional processing. The limbic system has no words, selfevaluation, or criticism. It is deeper, stronger, and more elemental to our basic nature than any other source of our “brain power.” LEARNING CAPACITIES ...
1. Musical Perception - your first impression of what you hear. React
... -major/minor tonality - effects the color of the piece. 3. Timbre -instrument types / voice types -type and size of performing group (ensemble). 4. Harmony - has a strong impact on our perception of color. -tonality: major/minor -consonant (pleasant), dissonant (harsh) 5. Texture - effects our perce ...
... -major/minor tonality - effects the color of the piece. 3. Timbre -instrument types / voice types -type and size of performing group (ensemble). 4. Harmony - has a strong impact on our perception of color. -tonality: major/minor -consonant (pleasant), dissonant (harsh) 5. Texture - effects our perce ...
![[Part 2]](http://s1.studyres.com/store/data/008806445_1-10e7dda7dc95b9a86e9b0f8579d46d32-300x300.png)
[Part 2]
... such an exercise simply to stimulate their imaginations, without resorting to thorough-going applications. Regardless of the techniques employed, composers, having already passed through a period of re-evaluation concerning pitch structures, have launched into a far-reaching reconsideration of time ...
... such an exercise simply to stimulate their imaginations, without resorting to thorough-going applications. Regardless of the techniques employed, composers, having already passed through a period of re-evaluation concerning pitch structures, have launched into a far-reaching reconsideration of time ...
Timbre powerpoint - olivia
... Timbre is caused by the note of an instrument creating a certain sound frequency. If for example, a violin and a viola play the same note you can tell the difference between the two because the viola has a deeper sound then the violin. When we are listening to a piece of music we are not listening ...
... Timbre is caused by the note of an instrument creating a certain sound frequency. If for example, a violin and a viola play the same note you can tell the difference between the two because the viola has a deeper sound then the violin. When we are listening to a piece of music we are not listening ...
Key Words Area of Study 1: Western Classical Music 1600 – 1899
... Secondary voice – the next most important melodic line afte the principle voice A group of six notes selected from the 12 pitches that are used as a musical motif or chord The six semitones not used in the first hexachord No key Notes that clash against each other Literally ‘tone colour melody’, a w ...
... Secondary voice – the next most important melodic line afte the principle voice A group of six notes selected from the 12 pitches that are used as a musical motif or chord The six semitones not used in the first hexachord No key Notes that clash against each other Literally ‘tone colour melody’, a w ...
Late Nineteenth-Century Developments after Beethoven Beethoven
... Compare to the principles and traits of romanticism Serialism A method of composition in which one or more musical elements is subject to ordering in a fixed series. Most commonly the elements so arranged are the 12 chromatic pitches within the octave — 12-tone music. First used by Schoenberg in the ...
... Compare to the principles and traits of romanticism Serialism A method of composition in which one or more musical elements is subject to ordering in a fixed series. Most commonly the elements so arranged are the 12 chromatic pitches within the octave — 12-tone music. First used by Schoenberg in the ...
THOUGHTS ON JOSEF TAL`S SYMPHONY No.5
... THOUGHTS ON JOSEF TAL'S SYMPHONY No.5 I HISTORY "The two"or,more,dimensional space in which musical ideas are presented is a unit", Arnold Schönberg wrote in 1934. "Though elements of these ideas appear separate and independent to the eye and to the ear, they reveal their true meaning only through t ...
... THOUGHTS ON JOSEF TAL'S SYMPHONY No.5 I HISTORY "The two"or,more,dimensional space in which musical ideas are presented is a unit", Arnold Schönberg wrote in 1934. "Though elements of these ideas appear separate and independent to the eye and to the ear, they reveal their true meaning only through t ...
Music History - GHSMathMusic
... Name a famous symphonic conductor. This composer had twenty children and worked the majority of his life for the church, at times writing a new cantata for each week’s service. List the solfege syllables. (Think The Sound of Music.) List the voice classifications for male operatic singers from highe ...
... Name a famous symphonic conductor. This composer had twenty children and worked the majority of his life for the church, at times writing a new cantata for each week’s service. List the solfege syllables. (Think The Sound of Music.) List the voice classifications for male operatic singers from highe ...
Slide 1
... The composer provides copious notes in the score describing the instruments and how they are played. The composer did not indicate how many bow lutes, flutes or thumb pianos are required and it would be interesting to see how he deals with the question of orchestral balance, with regard to these ins ...
... The composer provides copious notes in the score describing the instruments and how they are played. The composer did not indicate how many bow lutes, flutes or thumb pianos are required and it would be interesting to see how he deals with the question of orchestral balance, with regard to these ins ...
National Curriculum Subject: Music
... I can appreciate and begin to discuss how context may affect lyrics. I can evaluate my own work and suggest improvements. I know what technical musical vocabulary means e.g. accompaniment, chord, harmony, ...
... I can appreciate and begin to discuss how context may affect lyrics. I can evaluate my own work and suggest improvements. I know what technical musical vocabulary means e.g. accompaniment, chord, harmony, ...
Program Notes - Eric Chasalow
... notes, and resonance is often fleeting. In Trois Espaces du Son, I have intentionally set out to make a piece that combines certain idiomatic ways of playing piano and percussion with an unconventional simplicity. I have composed music in which different colors of attack are allowed to resonate. As ...
... notes, and resonance is often fleeting. In Trois Espaces du Son, I have intentionally set out to make a piece that combines certain idiomatic ways of playing piano and percussion with an unconventional simplicity. I have composed music in which different colors of attack are allowed to resonate. As ...
Chapter 18 continued… - Western Carolina University
... Chapter 18 continued… Technological developments after WWII? General compositional developments: ...
... Chapter 18 continued… Technological developments after WWII? General compositional developments: ...
Music Vocabulary 2011.xlsx
... percussion instrument. 1. a standard frequencey for tuning instruments. 2. the highness or lowness of a musical tone condsidered in relation to other tones depending on its frequencey. a musical note with the time values of 1/4 of a whole note. a musical rest corresponding in time value to a quarter ...
... percussion instrument. 1. a standard frequencey for tuning instruments. 2. the highness or lowness of a musical tone condsidered in relation to other tones depending on its frequencey. a musical note with the time values of 1/4 of a whole note. a musical rest corresponding in time value to a quarter ...
What is Music - WordPress.com
... Stepping is rhythmic movement that uses the hands and feet as an instrument. Known best among African American fraternities and sororities, stepping draws on a long African tradition of using the body to make music. Synchronized movement and chants are coordinated by the leader, or step master. Some ...
... Stepping is rhythmic movement that uses the hands and feet as an instrument. Known best among African American fraternities and sororities, stepping draws on a long African tradition of using the body to make music. Synchronized movement and chants are coordinated by the leader, or step master. Some ...
Chapter 7. The Rite of Spring (Stephen Edelglass)
... gain thrilling power through complex polytonal dissonance made possible by employing multiple musical keys simultaneously. Rhythms are immensely exciting as they are freed from rigid demands of meter. Such music requires active, wakeful, and fresh listening. It cannot be heard ...
... gain thrilling power through complex polytonal dissonance made possible by employing multiple musical keys simultaneously. Rhythms are immensely exciting as they are freed from rigid demands of meter. Such music requires active, wakeful, and fresh listening. It cannot be heard ...
Classical Era - Raleigh Charter High School
... – Essentially homophonic – Sonority is thick, heavy and lush ...
... – Essentially homophonic – Sonority is thick, heavy and lush ...
general listening terms
... Mouth music - Scottish imitation of bagpipes for dancing Opera/Musical - a play set to music, with solos and choruses. Opera =Italian, Musical= Duns opera (Oliver) ...
... Mouth music - Scottish imitation of bagpipes for dancing Opera/Musical - a play set to music, with solos and choruses. Opera =Italian, Musical= Duns opera (Oliver) ...
File - Ms Jones` GCSE Class
... the composers to write longer pieces of music without “drifting towards a key”, by its very design all 12 notes had exactly equal importance, and therefore there was no chance of moving towards a key or tonal centre. Serialism abandoned the idea of major, minor or modal tonality altogether. Melodies ...
... the composers to write longer pieces of music without “drifting towards a key”, by its very design all 12 notes had exactly equal importance, and therefore there was no chance of moving towards a key or tonal centre. Serialism abandoned the idea of major, minor or modal tonality altogether. Melodies ...
Chapter 4 Study Guide
... Outer form – the technical structure a piece of music employs, such as variation Inner form – the personal choices a composer makes within the outer form that give a work its unique sound quality Repetition – AAA; strophic form (like a hymn) Contrast – AB (binary form); through-composed (no repetiti ...
... Outer form – the technical structure a piece of music employs, such as variation Inner form – the personal choices a composer makes within the outer form that give a work its unique sound quality Repetition – AAA; strophic form (like a hymn) Contrast – AB (binary form); through-composed (no repetiti ...
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.