Review of Elliott Antokoletz and Marianne Wheeldon eds
... conception of the human being, who is perennially divided and threatened by the split between the conscious and unconscious mind” (143). In Antokoletz’s psychoanalytic hermeneutics, diatonic music is likened to the conscious mind, while tonally ambiguous whole-tone passages play the role of unconsci ...
... conception of the human being, who is perennially divided and threatened by the split between the conscious and unconscious mind” (143). In Antokoletz’s psychoanalytic hermeneutics, diatonic music is likened to the conscious mind, while tonally ambiguous whole-tone passages play the role of unconsci ...
Composer Profiles - Andrew Lesser Music
... Schoenberg quickly reached the outskirts of chromatic harmony. In the period between 1907 to 1909, Schoenberg departed from tonality altogether, producing works such as The Book of the Hanging Gardens, Op. 15 and the Five Orchestral Pieces, Op. 16. In these works, there is no resolution to any tonic ...
... Schoenberg quickly reached the outskirts of chromatic harmony. In the period between 1907 to 1909, Schoenberg departed from tonality altogether, producing works such as The Book of the Hanging Gardens, Op. 15 and the Five Orchestral Pieces, Op. 16. In these works, there is no resolution to any tonic ...
The Contributions of Jaco Pastorius to Electric Bass
... synth and drums continuing to play the rock beat and four chord harmony that has been prevalent throughout the piece. Variation is created, however, by placing short solo “fills” overtop of the rhythm section. These fills are presented in the soprano sax, bass, drumset and conga drums. The fills ar ...
... synth and drums continuing to play the rock beat and four chord harmony that has been prevalent throughout the piece. Variation is created, however, by placing short solo “fills” overtop of the rhythm section. These fills are presented in the soprano sax, bass, drumset and conga drums. The fills ar ...
Witold Lutosławski and the European Musical Tradition
... In the Musique funèbre (1954–58) dedicated ‘à la mémoire de Béla Bartók’, affinities with the first movement of the Music for Strings, Percussion and Celesta of the great Hungarian composer consist of analogous intervallic preferences, polyphonic texture and placement of the climax. There are, of co ...
... In the Musique funèbre (1954–58) dedicated ‘à la mémoire de Béla Bartók’, affinities with the first movement of the Music for Strings, Percussion and Celesta of the great Hungarian composer consist of analogous intervallic preferences, polyphonic texture and placement of the climax. There are, of co ...
Skyler Butenshon History and Literature of Music: Program Notes
... orchestral Prelude to "The Afternoon of a Faun." In May of 1893, at which point Debussy and Mallarmé were growing into good friends, they attended the play Pelleas et Melisande together. The exact time in which Debussy began writing The Faun is unknown, but it would not be far-fetched to presume tha ...
... orchestral Prelude to "The Afternoon of a Faun." In May of 1893, at which point Debussy and Mallarmé were growing into good friends, they attended the play Pelleas et Melisande together. The exact time in which Debussy began writing The Faun is unknown, but it would not be far-fetched to presume tha ...
Ashley Howard-Lewis Senior Thesis April 2015
... including an accent marking on the chord entrance. Finally, I composed an exclamation point using a forte dynamic marking on the striking modulating chord in measure 47. Debussy also manipulated instruments and their characteristic timbres in order to read Mallarme's L'après-midi d'un faune. Debuss ...
... including an accent marking on the chord entrance. Finally, I composed an exclamation point using a forte dynamic marking on the striking modulating chord in measure 47. Debussy also manipulated instruments and their characteristic timbres in order to read Mallarme's L'après-midi d'un faune. Debuss ...
Stravinsky and the End of Musical Time
... After World War II, Messiaen taught The Rite to his students both at the Paris Conservatory and at an unofficial analysis class conducted at Guy Bernard-Delapierre’s home from 1943–47. Ultimately, what Messiaen conveyed to his pupils about The Rite was Stravinsky's manipulation of rhythmic cells, pa ...
... After World War II, Messiaen taught The Rite to his students both at the Paris Conservatory and at an unofficial analysis class conducted at Guy Bernard-Delapierre’s home from 1943–47. Ultimately, what Messiaen conveyed to his pupils about The Rite was Stravinsky's manipulation of rhythmic cells, pa ...
Untitled - UMS ´n JIP
... in. Through Cage, he met sculptor Richard Lippold (who had a studio next door) and artists Sonia Sekula, Robert Rauschenberg, and others, and composers such as Henry Cowell, Virgil Thomson, and George Antheil. With encouragement from Cage, Feldman began to write pieces that had no relation to compos ...
... in. Through Cage, he met sculptor Richard Lippold (who had a studio next door) and artists Sonia Sekula, Robert Rauschenberg, and others, and composers such as Henry Cowell, Virgil Thomson, and George Antheil. With encouragement from Cage, Feldman began to write pieces that had no relation to compos ...
View - OhioLINK Electronic Theses and Dissertations Center
... semantic characteristics found within the first level of his methodology. In the second tier of Tarasti’s approach, each isotopy is assigned a modality. The term modality describes a “series of emotional states that account for the way a listener unites a musical text with human values” (Tarasti, 30 ...
... semantic characteristics found within the first level of his methodology. In the second tier of Tarasti’s approach, each isotopy is assigned a modality. The term modality describes a “series of emotional states that account for the way a listener unites a musical text with human values” (Tarasti, 30 ...
Fine Arts - Charis Smith`s E
... Ballade: Associated with French poetry, as a music form Sometimes called Chopin’s greatest musical composition First version written in 1831, during early years in Vienna Final version not finished until 1835 or 1836 Reflection of Chopin's loneliness and longing for family Inspired by the poem ...
... Ballade: Associated with French poetry, as a music form Sometimes called Chopin’s greatest musical composition First version written in 1831, during early years in Vienna Final version not finished until 1835 or 1836 Reflection of Chopin's loneliness and longing for family Inspired by the poem ...
Topic #18 - Unlocking the Mystery in Ligeti`s Lux Aeterna
... The “Ligeti signal,” also called the “Ligeti chord” is a perfect fourth enclosing a major second and minor third (025) The use of clearly delineated and calculated clusters. o Apparitions, his first piece ...
... The “Ligeti signal,” also called the “Ligeti chord” is a perfect fourth enclosing a major second and minor third (025) The use of clearly delineated and calculated clusters. o Apparitions, his first piece ...
xenakis
... unique sonorities, which are constantly evolving over the course of the work. Quite opposed to the established Serialistic style (he wrote articles on the subject) due to his feeling that they were hindered by their own compositional complexities [3], Xenakis tried to simplify his works by focusing ...
... unique sonorities, which are constantly evolving over the course of the work. Quite opposed to the established Serialistic style (he wrote articles on the subject) due to his feeling that they were hindered by their own compositional complexities [3], Xenakis tried to simplify his works by focusing ...
Tchai - pstevensfhs
... one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness” (Kamien 254). Tchaikovsky may have thought that the night was to be a success earlier that day, but there were many more years to pass before such a day could come. Tchaikovsky’s fi ...
... one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness” (Kamien 254). Tchaikovsky may have thought that the night was to be a success earlier that day, but there were many more years to pass before such a day could come. Tchaikovsky’s fi ...
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES
... born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts a ...
... born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts a ...
Contemporary Musical Structures
... are obvious when one examines the restricted tonal idiom of the jazz style. The very elements which make it attractive as a popular style, work against it in the extended developments which characterize symphonic and chamber music forms. A composer working with the blues, for example, is immediatel ...
... are obvious when one examines the restricted tonal idiom of the jazz style. The very elements which make it attractive as a popular style, work against it in the extended developments which characterize symphonic and chamber music forms. A composer working with the blues, for example, is immediatel ...
Composer Profiles - Andrew Lesser Music
... Paul’s novel Die Flegeljahre. Rather than writing one large work, Schumann instead combined shorter pieces, sometimes less than a minute in length, creating one larger opus held together by a common theme. The Op. 9, “Carnaval” and Op. 12, “Scenes from Childhood”, are excellent examples of Schumann’ ...
... Paul’s novel Die Flegeljahre. Rather than writing one large work, Schumann instead combined shorter pieces, sometimes less than a minute in length, creating one larger opus held together by a common theme. The Op. 9, “Carnaval” and Op. 12, “Scenes from Childhood”, are excellent examples of Schumann’ ...
Telemann`s Zwanzig kleine Fugen!
... kleine Fugen, to accompany his set of chorale-tune harmonizations published the year before. Like many of Telemann's works, the fugues were intended to serve as pedagogical pieces for amateur keyboardists, especially those who performed in a church setting. In a brief preface to the publication, Tel ...
... kleine Fugen, to accompany his set of chorale-tune harmonizations published the year before. Like many of Telemann's works, the fugues were intended to serve as pedagogical pieces for amateur keyboardists, especially those who performed in a church setting. In a brief preface to the publication, Tel ...
Qan vei la laudeta mover
... the ground in the version of “Qan vei” preserved in manuscript G? Or does it instead become apparent that every single one of the eight melodic phrases of “Qan vei” comprises at least one ascending and descending figure that could be taken to be the musical rendering of a forgetful skylark? The musi ...
... the ground in the version of “Qan vei” preserved in manuscript G? Or does it instead become apparent that every single one of the eight melodic phrases of “Qan vei” comprises at least one ascending and descending figure that could be taken to be the musical rendering of a forgetful skylark? The musi ...
Tintinnabuli - bibsys brage
... made out of a single triad that marks the tonal centre of the piece or the section of the piece, and a melodic line (or lines) which counterpoint the triad. Pärt‟s music of this period, rightfully called „tintinnabuli period‟, is characterized as serene, graceful, sad, calm, enigmatic, mystical and ...
... made out of a single triad that marks the tonal centre of the piece or the section of the piece, and a melodic line (or lines) which counterpoint the triad. Pärt‟s music of this period, rightfully called „tintinnabuli period‟, is characterized as serene, graceful, sad, calm, enigmatic, mystical and ...
Confirma hoc
... volunteer any information as to its source. After a few minutes Noah said, “What is that?” “Hildegard” I replied and only then did I proceed to tell him a little about her and her alleged extra-spiritual qualities and how she had reported having visions. And it came to pass ... when I was 42 years ...
... volunteer any information as to its source. After a few minutes Noah said, “What is that?” “Hildegard” I replied and only then did I proceed to tell him a little about her and her alleged extra-spiritual qualities and how she had reported having visions. And it came to pass ... when I was 42 years ...
The Development of the Brazilian Country Music and its
... express their music and choose a particular style. This is one reason why starting a folia de reis group requires not only religious experiences, but also musical experiences within the neighborhood where participants have been raised. The continuous use of musical instruments by the participants to ...
... express their music and choose a particular style. This is one reason why starting a folia de reis group requires not only religious experiences, but also musical experiences within the neighborhood where participants have been raised. The continuous use of musical instruments by the participants to ...
a performer`s analysis of liszt`s sonetto 47 del petrarca a creative
... right-hand large chords bring a grand gesture along with the necessity of outlining the top notes, as they are the main melody. Playing chords and voicing different notes among them can be difficult. It takes a lot of training and emphasis on the sound. The beginning step would be playing out the me ...
... right-hand large chords bring a grand gesture along with the necessity of outlining the top notes, as they are the main melody. Playing chords and voicing different notes among them can be difficult. It takes a lot of training and emphasis on the sound. The beginning step would be playing out the me ...
Franz Liszt`s Battle Against Tonality In The Solo Piano Piece Unstern
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
Liszt`s experiments with literature
... described as a narrative taking place on three planes. The first narrative plane consists of the titles of the individual pieces, which are like a list of visited places and create the external story. The next plane comprises quotations and mottoes placed above the scores of the individual parts, wh ...
... described as a narrative taking place on three planes. The first narrative plane consists of the titles of the individual pieces, which are like a list of visited places and create the external story. The next plane comprises quotations and mottoes placed above the scores of the individual parts, wh ...
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.