From Modal to Tonal: The Influence of Monteverdi on Musical
... This background created Monteverdi into the musician and composer that he would later become. His experience with Ingegneri and training in the church allowed him to be immersed in the theory of music. As his musical works developed, he became called the ‘Father of Opera’ due to his innovations in ...
... This background created Monteverdi into the musician and composer that he would later become. His experience with Ingegneri and training in the church allowed him to be immersed in the theory of music. As his musical works developed, he became called the ‘Father of Opera’ due to his innovations in ...
saariaho-musical-language-3
... this can be heard in this piece, which culminates in the "space traversed by a single thought", represented by ethereal scales flying by and disappearing. The music has two themes or ideas which interact and converge, but in this piece it is not only changing pitches and intervals which give momentu ...
... this can be heard in this piece, which culminates in the "space traversed by a single thought", represented by ethereal scales flying by and disappearing. The music has two themes or ideas which interact and converge, but in this piece it is not only changing pitches and intervals which give momentu ...
your concert programme here
... Prokofiev is the starting-point this evening. He was certainly no slouch when it came to keyboard wizardry and he seems to have delighted in getting a rise out of the more conservative of audience-members (even though, as we know from his own recordings, his playing was more about finesse than heft ...
... Prokofiev is the starting-point this evening. He was certainly no slouch when it came to keyboard wizardry and he seems to have delighted in getting a rise out of the more conservative of audience-members (even though, as we know from his own recordings, his playing was more about finesse than heft ...
Tonal and Post-Tonal Music - Northern State University
... iv. Hexachord—six notes, or half the row. c. The first twelve-tone works emulated the basic sound, form and texture of atonal music, but with greater organization. In these works, Schoenberg returned to traditional forms, as if to demonstrate the power of his new method. These works include: i. Pian ...
... iv. Hexachord—six notes, or half the row. c. The first twelve-tone works emulated the basic sound, form and texture of atonal music, but with greater organization. In these works, Schoenberg returned to traditional forms, as if to demonstrate the power of his new method. These works include: i. Pian ...
Impressionism in Selected Works for Flute An Honors
... the Societe's members began to call themselves impressionists, a descriptive term which is still used today. The work of these artists was unique because it represented an impression that the subject made on the artist, instead of capturing the exact image of a subject. For example, an impressionist ...
... the Societe's members began to call themselves impressionists, a descriptive term which is still used today. The work of these artists was unique because it represented an impression that the subject made on the artist, instead of capturing the exact image of a subject. For example, an impressionist ...
pdf - Research Catalogue
... this idyllic vision, indicating that Urtext-editions could not achieve what they purported to do. Gustav Henle himself noted in 1954 — on his statement on the term ‘Urtext’ (Henle 1954, pp. 377-380) — that sometimes an autograph and a first edition differ considerably in which case the editor must d ...
... this idyllic vision, indicating that Urtext-editions could not achieve what they purported to do. Gustav Henle himself noted in 1954 — on his statement on the term ‘Urtext’ (Henle 1954, pp. 377-380) — that sometimes an autograph and a first edition differ considerably in which case the editor must d ...
The Collaborative Process as Invention
... Michel Foucault’s particular analytical and cultural context, we may note that his construction of the ‘author concept’ points, paradoxically, to some of the ways in which collaborative relationships function: ‘The author is not an indefinite source of significations that fill a work; the author doe ...
... Michel Foucault’s particular analytical and cultural context, we may note that his construction of the ‘author concept’ points, paradoxically, to some of the ways in which collaborative relationships function: ‘The author is not an indefinite source of significations that fill a work; the author doe ...
Dowling et al., (1999) - Decision Neuroscience Laboratory
... rather say that melodic contour has two aspects: the pitch contour of ups and downs, and the rhythmic contour of longs and shorts and patterns of accent. "Melodic contour" is the superordinate category. Further, we believe that the two aspects of melodic contour--pitch and rhythm--are essentially in ...
... rather say that melodic contour has two aspects: the pitch contour of ups and downs, and the rhythmic contour of longs and shorts and patterns of accent. "Melodic contour" is the superordinate category. Further, we believe that the two aspects of melodic contour--pitch and rhythm--are essentially in ...
Music 231 Motive
... and one-half measure (in 4/4) are abundant. Motives of irregular lengths -- three measures, five measures, or odd fractions of measures -- are more common in music of the last 100 years. Examining the motives above in terms of meter reveals nothing out of the ordinary. This, too, is an important asp ...
... and one-half measure (in 4/4) are abundant. Motives of irregular lengths -- three measures, five measures, or odd fractions of measures -- are more common in music of the last 100 years. Examining the motives above in terms of meter reveals nothing out of the ordinary. This, too, is an important asp ...
Mozart -- The Washington Times
... Worse, he frequently assumes a great deal of knowledge, not only of music but of the social and cultural context of Mozart's life. Often he refers to matters that are footnoted but not explained such as "E.T.A Hoffman's curious short story of 1813." This is apropos Mozart's opera "Don Giovanni," but ...
... Worse, he frequently assumes a great deal of knowledge, not only of music but of the social and cultural context of Mozart's life. Often he refers to matters that are footnoted but not explained such as "E.T.A Hoffman's curious short story of 1813." This is apropos Mozart's opera "Don Giovanni," but ...
The Skills of Flute Playing ~ Classic Techniques for
... www.thegalwaynetwork.com Paula Robison ~ Warmup Book (includes trill patterns, chromatics, singers warmups, scales etc.) Please suggest other high level and innovative methods and titles to [email protected] and they will be added here. Thank you. ...
... www.thegalwaynetwork.com Paula Robison ~ Warmup Book (includes trill patterns, chromatics, singers warmups, scales etc.) Please suggest other high level and innovative methods and titles to [email protected] and they will be added here. Thank you. ...
ChantiCleer - University Musical Society
... Zelter) spoke of her quite favorably. She composed well over 400 pieces of music in her lifetime but was ultimately beholden to time and place — it was not considered acceptable for a woman to have a musical career, thus her efforts were restricted to chamber music. Nonetheless, her works have endur ...
... Zelter) spoke of her quite favorably. She composed well over 400 pieces of music in her lifetime but was ultimately beholden to time and place — it was not considered acceptable for a woman to have a musical career, thus her efforts were restricted to chamber music. Nonetheless, her works have endur ...
Patterns_of_Intuition_Alexander Stankovski
... (“Spiegelkanon”, literally, mirror canon in German), the inversion of a fugue theme or a retrograde inversion construction, which can be found in the work of composers like Guillaume de Machaut, Johann Sebastian Bach or Anton Webern. Musical material is not directly worked with, but the intervals an ...
... (“Spiegelkanon”, literally, mirror canon in German), the inversion of a fugue theme or a retrograde inversion construction, which can be found in the work of composers like Guillaume de Machaut, Johann Sebastian Bach or Anton Webern. Musical material is not directly worked with, but the intervals an ...
The Making of Ragtime
... Stephen Flaherty and Lynn Ahrens auditioned to do the score of Ragtime along with several other songwriting teams. They had to audition via demo tape and only had 11 days to write four songs. Of those four songs submitted, three songs remain in the show today and they are the title song, “Till We Re ...
... Stephen Flaherty and Lynn Ahrens auditioned to do the score of Ragtime along with several other songwriting teams. They had to audition via demo tape and only had 11 days to write four songs. Of those four songs submitted, three songs remain in the show today and they are the title song, “Till We Re ...
ANGELA HEWITT: BACH ODYSSEY I
... manner in playing, and at the same time to acquire a strong foretaste of composition. Prepared by Joh. Seb. Bach Capellmeister to His Serene Highness the Prince of Anhalt-Cöthen Anno Christi 1723 The title ‘Invention’ was most likely adopted from fourviolin pieces written bv Bonporti which Bach cop ...
... manner in playing, and at the same time to acquire a strong foretaste of composition. Prepared by Joh. Seb. Bach Capellmeister to His Serene Highness the Prince of Anhalt-Cöthen Anno Christi 1723 The title ‘Invention’ was most likely adopted from fourviolin pieces written bv Bonporti which Bach cop ...
MUS LAB
... Permission to Engage was inspired by a military video titled “Collateral Murder” that I watched from a website called WikiLeaks. The complete footage is about forty minutes long, and shows the U.S. Apache helicopter gun crew killing innocent civilians on a street in Baghdad, Iraq. For soldiers, requ ...
... Permission to Engage was inspired by a military video titled “Collateral Murder” that I watched from a website called WikiLeaks. The complete footage is about forty minutes long, and shows the U.S. Apache helicopter gun crew killing innocent civilians on a street in Baghdad, Iraq. For soldiers, requ ...
Elgar`s Oratorios: The Creation of an Epic Narrative, by Charles
... genre as a whole. This concern to contextualize Elgar's oratorios even prompts the author to undertake in appendix B the gargantuan task of examining 289 separate large-scale choral works-not all of them ...
... genre as a whole. This concern to contextualize Elgar's oratorios even prompts the author to undertake in appendix B the gargantuan task of examining 289 separate large-scale choral works-not all of them ...
“classical” minimalism
... jazz. The obvious common denominator of what might otherwise seem the three unrelated styles that aroused his enthusiasm is, of course, the presence of a strongly articulated subtactile pulse, the very thing that Reich (who participated in the first performances) contributed to In C. Baroque music ...
... jazz. The obvious common denominator of what might otherwise seem the three unrelated styles that aroused his enthusiasm is, of course, the presence of a strongly articulated subtactile pulse, the very thing that Reich (who participated in the first performances) contributed to In C. Baroque music ...
Vocabulary Unit 1: Exercises
... In many Impressionist paintings, the colors are soft and blended, the shapes barely discernable. In fact, up close, such a painting mat seems to be no more than a formless palette of colored dots. Standing back, however, one can see a pleasing image, perhaps of a river or garden. Debussy, like the p ...
... In many Impressionist paintings, the colors are soft and blended, the shapes barely discernable. In fact, up close, such a painting mat seems to be no more than a formless palette of colored dots. Standing back, however, one can see a pleasing image, perhaps of a river or garden. Debussy, like the p ...
Chapter 4 PLAYING TECHNIQUES IN SAMA GANA PERIOD
... the heptatonic scale with the addition of Ma (4/3) above and Pa (3/4) below. The scale of Sama Gana was a downward scale and Ma, Ga, Ri, Sa and Sa, Ni, Da, Pa were perfectly balanced and symmetrical tetra chords, the extreme notes of each tetra chord bearing the ratio 3:4. Thus the Sama Gana scale ...
... the heptatonic scale with the addition of Ma (4/3) above and Pa (3/4) below. The scale of Sama Gana was a downward scale and Ma, Ga, Ri, Sa and Sa, Ni, Da, Pa were perfectly balanced and symmetrical tetra chords, the extreme notes of each tetra chord bearing the ratio 3:4. Thus the Sama Gana scale ...
Preliminary Observations of an overview of the music in Le Grand
... The Finale is based upon a dyadic passacaglia of 24 major/minor sixths (Example 4), which is used by Ligeti to hang other musical elements; mainly of a melodic nature. The passacaglia unfolds through a gradual accretion of extra pitches onto the dyadic base. This includes additional octaves and comp ...
... The Finale is based upon a dyadic passacaglia of 24 major/minor sixths (Example 4), which is used by Ligeti to hang other musical elements; mainly of a melodic nature. The passacaglia unfolds through a gradual accretion of extra pitches onto the dyadic base. This includes additional octaves and comp ...
TUNING IN OPPOSITION: THE THEATER OF
... The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been ...
... The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been ...
An Introduction to Contemporary Music - Machlis
... d) this “form vs order” was described by Nietzsche the symbols of Apollo (god of light and harmonious proportion) and Dionysus (god of wine, ecstasy, and intoxication) (1) the romantic period shifted toward the Dionysian and away from the classical Apollonian (2) the 20th century shifted away from t ...
... d) this “form vs order” was described by Nietzsche the symbols of Apollo (god of light and harmonious proportion) and Dionysus (god of wine, ecstasy, and intoxication) (1) the romantic period shifted toward the Dionysian and away from the classical Apollonian (2) the 20th century shifted away from t ...
Operetta Operetta is a genre of light opera, light in terms both of
... character. Operettas are often considered less "serious" than operas. Topical satire is a feature common to many operettas. Normally some of the libretto of an operetta is spoken rather than sung. Instead of moving from one musical number to another, the musical segments — e.g. aria, recitative, cho ...
... character. Operettas are often considered less "serious" than operas. Topical satire is a feature common to many operettas. Normally some of the libretto of an operetta is spoken rather than sung. Instead of moving from one musical number to another, the musical segments — e.g. aria, recitative, cho ...
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.