Wunderkind? - DSCH Journal
... around him. But even at an early age, he was able to separate himself definitively from his predecessors. And this is perhaps what is most impressive about the prelude at hand. Shostakovich’s distinct character penetrates the music through and through, making it is somewhat difficult to identify spe ...
... around him. But even at an early age, he was able to separate himself definitively from his predecessors. And this is perhaps what is most impressive about the prelude at hand. Shostakovich’s distinct character penetrates the music through and through, making it is somewhat difficult to identify spe ...
Historical Melodrama? Edward Elgar`s Sospiri op. 70 Phillip A. Cooke
... its illustrious composer and some of his weightier pieces, and their certainly is truth in this. The reputation of Elgar has continued to grow in the latter part of the twentieth and early twenty‐first centuries, and it is more often the introverted, circumspect side to the composer which is favo ...
... its illustrious composer and some of his weightier pieces, and their certainly is truth in this. The reputation of Elgar has continued to grow in the latter part of the twentieth and early twenty‐first centuries, and it is more often the introverted, circumspect side to the composer which is favo ...
41 by Joel V . Hunt Henry Brant rejected notions of indeterminacy in
... to five elongated rectangular blocks, which enclose surface-level performance instructions and diagram the structural organization of modular units. Brant’s instructions for the back-stage group in section A stand out as a striking example of surface-level indeterminacy. With his request for all ...
... to five elongated rectangular blocks, which enclose surface-level performance instructions and diagram the structural organization of modular units. Brant’s instructions for the back-stage group in section A stand out as a striking example of surface-level indeterminacy. With his request for all ...
Hicks, M.-Exorcism... Nones Berio
... values of all four parameters in each note must equal at least nine.16 Although this rule limited the material, it left much discretion to the composer. When writing the first pitch class, for example, Berio could combine values in no less than sixty-four different ways in order to add up to nine ex ...
... values of all four parameters in each note must equal at least nine.16 Although this rule limited the material, it left much discretion to the composer. When writing the first pitch class, for example, Berio could combine values in no less than sixty-four different ways in order to add up to nine ex ...
Andy Milne Bio - andymilne.com
... In 1990, after completing an Honors degree in music at York University (where he studied with Oscar Peterson, Pat LaBarbara, and Don Thompson), Milne received a Canada Council grant to study at The Banff Centre. At Banff, he met saxophonist Steve Coleman, who encouraged Milne to move to New York. In ...
... In 1990, after completing an Honors degree in music at York University (where he studied with Oscar Peterson, Pat LaBarbara, and Don Thompson), Milne received a Canada Council grant to study at The Banff Centre. At Banff, he met saxophonist Steve Coleman, who encouraged Milne to move to New York. In ...
Review of Maureen Carr, After the Rite
... convey Stravinsky’s “synthesizing energy” (178). The composer’s attempt to synthesize contrasting material through superimposition, interruption, and juxtaposition allows him to integrate sources from eighteenth-century music into his compositions. Although Pulcinella exhibits an unevenness in the a ...
... convey Stravinsky’s “synthesizing energy” (178). The composer’s attempt to synthesize contrasting material through superimposition, interruption, and juxtaposition allows him to integrate sources from eighteenth-century music into his compositions. Although Pulcinella exhibits an unevenness in the a ...
The Milwaukee Symposia for Church Composers
... of sound, the raw material for music.38 Sound itself is our starting point for understanding music and its capacity to serve as a vehicle for God’s self-revelation. Sound’s temporality, for example, symbolizes a God active in creation and history; its seemingly insubstantial nature symbolizes a God ...
... of sound, the raw material for music.38 Sound itself is our starting point for understanding music and its capacity to serve as a vehicle for God’s self-revelation. Sound’s temporality, for example, symbolizes a God active in creation and history; its seemingly insubstantial nature symbolizes a God ...
Chapter - 5 - Shodhganga
... Information about the body of musical instruments in any culture is recognizing from its past and present shape. Historical development and stage of evolution can be obtains from four types of sources. First from ancient treatises on music theory; second, from iconographical evidence; third from col ...
... Information about the body of musical instruments in any culture is recognizing from its past and present shape. Historical development and stage of evolution can be obtains from four types of sources. First from ancient treatises on music theory; second, from iconographical evidence; third from col ...
A New American Development in Music
... contrasts tend to indicate some sort of national standard. In our time eclecticism has begun to reveal itself as the artistic symbol in Western art even though a certain disdain for the concept has been fashionable since the nineteenth century and still is evident in our own period. ...
... contrasts tend to indicate some sort of national standard. In our time eclecticism has begun to reveal itself as the artistic symbol in Western art even though a certain disdain for the concept has been fashionable since the nineteenth century and still is evident in our own period. ...
Gaspard de la nuit - Stanford University
... notes, and functions of the thumb. The division of melodies and chords between hands had been used before by Liszt’s rival Sigismond Thalberg, who created a three-voiced effect by having an inner melody surrounded by two accompaniments. Ravel created more range through “doubling the melody in octave ...
... notes, and functions of the thumb. The division of melodies and chords between hands had been used before by Liszt’s rival Sigismond Thalberg, who created a three-voiced effect by having an inner melody surrounded by two accompaniments. Ravel created more range through “doubling the melody in octave ...
View - NCUR Proceedings
... 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, ...
A Visual Musician: Musical Elements Within the Paintings of Vassily
... sketched in front of me V.” Kandinsky’s musical experiences influenced his art dramatically. One of his most famous paintings is a recollection of the visual reaction he experienced from a concert performed by the Viennese musicians Vienna Hofoper, and the Rosé Quartet on January 2, 1911. The musici ...
... sketched in front of me V.” Kandinsky’s musical experiences influenced his art dramatically. One of his most famous paintings is a recollection of the visual reaction he experienced from a concert performed by the Viennese musicians Vienna Hofoper, and the Rosé Quartet on January 2, 1911. The musici ...
PowerPoint Lecture Slides
... Gamelan ensembles feature metallophone instruments called ganga, which come in either one or two pairs in each octave range. ...
... Gamelan ensembles feature metallophone instruments called ganga, which come in either one or two pairs in each octave range. ...
Antonio Vivaldi Fun Facts
... of his three-movement plan (fast-slow-fast). His methods of securing greater thematic unity were widely copied, especially the integration of solo and ritornello material; his vigorous rhythmic patterns, his violinistic figuration and his use of sequence were also much imitated. Vivaldi was an ent ...
... of his three-movement plan (fast-slow-fast). His methods of securing greater thematic unity were widely copied, especially the integration of solo and ritornello material; his vigorous rhythmic patterns, his violinistic figuration and his use of sequence were also much imitated. Vivaldi was an ent ...
The Compositional Signature of Anton Bruckner I.
... i. Pupil that revitalized interest in Bruckner after the Nazi interest a. Promoted music abroad C. Chorister at St. Florian’s Abbey 1. Source of spiritual stability and inspiration throughout his life i. Wrote masses and other sacred works a. Gradual settings very popular ii. 1841-1868 a. Time in wh ...
... i. Pupil that revitalized interest in Bruckner after the Nazi interest a. Promoted music abroad C. Chorister at St. Florian’s Abbey 1. Source of spiritual stability and inspiration throughout his life i. Wrote masses and other sacred works a. Gradual settings very popular ii. 1841-1868 a. Time in wh ...
The Relationships Between Speech Tone and Melody in the Khap
... polyvalent, as their function vary according to their position in the sentence. The base of the vocabulary is monosyllabic, but polysyllabic words exist (coming from Pali or Sanskrit, or built from prefixes). Vocalic length and the pitch of syllables are relevant elements in the construction of word ...
... polyvalent, as their function vary according to their position in the sentence. The base of the vocabulary is monosyllabic, but polysyllabic words exist (coming from Pali or Sanskrit, or built from prefixes). Vocalic length and the pitch of syllables are relevant elements in the construction of word ...
Lauren Lazzari Sophomore Portfolio
... (Introduction). Mozart proved to be extremely gifted from a very young age. He wrote a variety of pieces, several being keyboard sonatas. Wolfgang Amadeus Mozart composed his seventeenth piano sonata in Munich in 1775 (Eisen). At the young age of 19, Mozart composed Sonata XVII, among other sonatas. ...
... (Introduction). Mozart proved to be extremely gifted from a very young age. He wrote a variety of pieces, several being keyboard sonatas. Wolfgang Amadeus Mozart composed his seventeenth piano sonata in Munich in 1775 (Eisen). At the young age of 19, Mozart composed Sonata XVII, among other sonatas. ...
- MusicTeachers.co.uk
... history for its originality on many levels, proof that Debussy had established a style that embodied both an acute sense of orchestral colour and a development of the established ‘rules’ of harmony and form. The piece is based on a poem by the contemporary French poet Mallarmé entitled L’après-midi ...
... history for its originality on many levels, proof that Debussy had established a style that embodied both an acute sense of orchestral colour and a development of the established ‘rules’ of harmony and form. The piece is based on a poem by the contemporary French poet Mallarmé entitled L’après-midi ...
A Companion to Recent Scottish Music: 1950 to the Present - n-ISM
... When Max came to live in Orkney during the early Seventies, he joined a community and connected to a culture and environment that contained deep resonances of an ancient Nordic culture. His new homeland encouraged a rejuvenation of his musical vocabulary. Much of his earlier work was chamber music o ...
... When Max came to live in Orkney during the early Seventies, he joined a community and connected to a culture and environment that contained deep resonances of an ancient Nordic culture. His new homeland encouraged a rejuvenation of his musical vocabulary. Much of his earlier work was chamber music o ...
Improvised Music after 1950: Afrological and
... ploration of improvisation in both Europe and America, as a form of "art" has in all likelihood been a salient stimulating factor in this reevaluation of the possibilities of improvisation. Already active in the 1940s, a group of radical young black American improvisers, for the most part lacking ac ...
... ploration of improvisation in both Europe and America, as a form of "art" has in all likelihood been a salient stimulating factor in this reevaluation of the possibilities of improvisation. Already active in the 1940s, a group of radical young black American improvisers, for the most part lacking ac ...
Arnold Schoenberg
... portable music stand, chairs, card games, chess sets, 4 player chess games, tram tickets, and a musical notation type-writer. ...
... portable music stand, chairs, card games, chess sets, 4 player chess games, tram tickets, and a musical notation type-writer. ...
Musicophilia (E
... Nietzsche wrote. We keep time to music, involuntarily, even if we are not consciously attending to it, and our faces and postures mirror the “narrative” of the melody, and the thoughts and feelings it provokes. Much that occurs during the perception of music can also occur when music is “played in t ...
... Nietzsche wrote. We keep time to music, involuntarily, even if we are not consciously attending to it, and our faces and postures mirror the “narrative” of the melody, and the thoughts and feelings it provokes. Much that occurs during the perception of music can also occur when music is “played in t ...
A Note on Transcribing 4`33
... consists of three folded, almost blank, pages.7 The third called “TACET”, i.e., instruction not to play but remain silent, consists of a single page with the three movements all marked “Tacet”. This third version has an instruction at the bottom. The title of this work is the total length in minutes ...
... consists of three folded, almost blank, pages.7 The third called “TACET”, i.e., instruction not to play but remain silent, consists of a single page with the three movements all marked “Tacet”. This third version has an instruction at the bottom. The title of this work is the total length in minutes ...
Quicksilver - Early Music Now
... contemplation with sudden and unexpected bursts of ornamental virtuosity. Interestingly, Castello himself quotes a good chunk of this sonata in one of his own works — or is it the other way around? In either case, it is clear that these two composers knew and respected each other’s craft. We then he ...
... contemplation with sudden and unexpected bursts of ornamental virtuosity. Interestingly, Castello himself quotes a good chunk of this sonata in one of his own works — or is it the other way around? In either case, it is clear that these two composers knew and respected each other’s craft. We then he ...
JAMES TENNEY (1934–2006)
... In this regard, a pivotal work in Tenney’s output is In a Large, Open Space, composed toward the end of his sabbatical year in Berlin in 1993–94. This piece—indeterminate both in instrumentation and in overall duration, and in that sense as much an installation as a concert piece—uses the first thir ...
... In this regard, a pivotal work in Tenney’s output is In a Large, Open Space, composed toward the end of his sabbatical year in Berlin in 1993–94. This piece—indeterminate both in instrumentation and in overall duration, and in that sense as much an installation as a concert piece—uses the first thir ...
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.