Telemann`s Zwanzig kleine Fugen!
... "learned" or contrapuntal style of high-baroque composition, and utilized the genre of the fugue for this purpose. In 1731, Telemann published a set of little fugues, the Zwanzig kleine Fugen, to accompany his set of chorale-tune harmonizations published the year before. Like many of Telemann's work ...
... "learned" or contrapuntal style of high-baroque composition, and utilized the genre of the fugue for this purpose. In 1731, Telemann published a set of little fugues, the Zwanzig kleine Fugen, to accompany his set of chorale-tune harmonizations published the year before. Like many of Telemann's work ...
The Artist`s Refuge: Idiosyncratic Properties of the
... It says a great deal about Jehan Alain that, within a few moments of listening to almost any one of his works, even the modestly informed listener may easily discern its composer. Emerging from a strong French tradition of specialized Organist-composers, Alain produced one of the most original organ ...
... It says a great deal about Jehan Alain that, within a few moments of listening to almost any one of his works, even the modestly informed listener may easily discern its composer. Emerging from a strong French tradition of specialized Organist-composers, Alain produced one of the most original organ ...
2. Middle Ages
... Artisans—including musicians— organized themselves into groups called GUILDS to regulate their crafts and protect their interests ...
... Artisans—including musicians— organized themselves into groups called GUILDS to regulate their crafts and protect their interests ...
Nicola Vicentino and the Enharmonic Diesis
... and elevating the traditional style of polyphonic writing. ...
... and elevating the traditional style of polyphonic writing. ...
Print this article - Memorial University Libraries
... chant across all the voices with each part at some point taking up fragments of the melody, in the manner of a fifteenth century paraphrase Mass. When one hears this work, and others like it by Willan, one cannot help but recall some of the compositional methods used by composers of late Medieval an ...
... chant across all the voices with each part at some point taking up fragments of the melody, in the manner of a fifteenth century paraphrase Mass. When one hears this work, and others like it by Willan, one cannot help but recall some of the compositional methods used by composers of late Medieval an ...
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 ...
Stravinsky and the Octatonic: A Reconsideration
... The four scales in question are the diatonic (trivially), octatonic, whole-tone, and the ascending form of the melodic minor scale. In my previous paper, I argued that they are central to the harmonic vocabulary of the Impressionists as well as to contemporary jazz. Here I want to suggest that this ...
... The four scales in question are the diatonic (trivially), octatonic, whole-tone, and the ascending form of the melodic minor scale. In my previous paper, I argued that they are central to the harmonic vocabulary of the Impressionists as well as to contemporary jazz. Here I want to suggest that this ...
consonances. (Unisons are rather hard to play on one pianot)
... difference between the phrases is in the mdodic motion. The first two are almost identical; the only difference is the size of one of the intervals. The first phrase has a fourth between "-day" and "to," while the second phrase has fifth between those words. a The third and fourth phrases are more v ...
... difference between the phrases is in the mdodic motion. The first two are almost identical; the only difference is the size of one of the intervals. The first phrase has a fourth between "-day" and "to," while the second phrase has fifth between those words. a The third and fourth phrases are more v ...
Read an Excerpt - Paraclete Press
... to its expressive, ancient form. In 1903 Pope Pius X authorized the monks of Solesmes to prepare editions of chant for the Mass of the entire Roman Catholic Church, and during the next sixty years, the “Solesmes Method” of chant was taught throughout Europe and North America. Even as scholars debate ...
... to its expressive, ancient form. In 1903 Pope Pius X authorized the monks of Solesmes to prepare editions of chant for the Mass of the entire Roman Catholic Church, and during the next sixty years, the “Solesmes Method” of chant was taught throughout Europe and North America. Even as scholars debate ...
Liturgical Function and Gregorian Chant in the Music of Paulus
... who produced catalogues of Latin chants which could be used in the Augsburg Confession17. They are dominated by hymns, which became firmly established in the German tradition as early as the fifteenth century, and were not displaced as a result of the Reformation. It seems, however, that certain ide ...
... who produced catalogues of Latin chants which could be used in the Augsburg Confession17. They are dominated by hymns, which became firmly established in the German tradition as early as the fifteenth century, and were not displaced as a result of the Reformation. It seems, however, that certain ide ...
HARMONIC ANALYSIS for Scale Selection and Chord Substitution BY CURT SHELLER
... tonality. Even if the tonality cannot be determined, a harmonic analysis can be started. ...
... tonality. Even if the tonality cannot be determined, a harmonic analysis can be started. ...
A propos du « mouvement musical » chez Debussy :
... In reality, these details are not sufficient to dissipate all sense of “uncertainness.” On the one hand, hearing formal divisions based solely on the change of tempo is far from providing concrete evidence (the difference between the tempos is so minimal that it frequently disappears during performa ...
... In reality, these details are not sufficient to dissipate all sense of “uncertainness.” On the one hand, hearing formal divisions based solely on the change of tempo is far from providing concrete evidence (the difference between the tempos is so minimal that it frequently disappears during performa ...
5 Erik Satie
... How strong are the forces of these ancient chants then that they have made their presence felt all the way into this, the age representing the beginnings of modern music as we recognize it today? While perhaps not thought of as being as important as let us say a Debussy or a Ravel, it is no overstat ...
... How strong are the forces of these ancient chants then that they have made their presence felt all the way into this, the age representing the beginnings of modern music as we recognize it today? While perhaps not thought of as being as important as let us say a Debussy or a Ravel, it is no overstat ...
Confirma hoc
... chant emanate from Jerusalem dating from the seventh century. They survive today translated from the original Greek and are called ladgari. In the West, where Latin was the spoken language, these types of books were called antiphonale. The earliest surviving copies are from Milan and Rome (Smith 199 ...
... chant emanate from Jerusalem dating from the seventh century. They survive today translated from the original Greek and are called ladgari. In the West, where Latin was the spoken language, these types of books were called antiphonale. The earliest surviving copies are from Milan and Rome (Smith 199 ...
the materials of melody #2
... instincts, and a willingness to let your ear take you where it will. The level of study and preparation that one has ideally serves only to inform the intuitive guide that we all possess, and which we often censor in favor of the comfort of playing what we know. Let's look at the first category, Int ...
... instincts, and a willingness to let your ear take you where it will. The level of study and preparation that one has ideally serves only to inform the intuitive guide that we all possess, and which we often censor in favor of the comfort of playing what we know. Let's look at the first category, Int ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
Diatonic Triads Powerpoint
... You can build a triad on every note in a major scale just by using the notes in the scale. ...
... You can build a triad on every note in a major scale just by using the notes in the scale. ...
Interval Scale as Group Generators - Base des articles scientifiques
... Proof. As is mentioned in the next section, Zn is a cyclic group of order n. By the definition of a cyclic group, any element of Zn s satisfies ns = e. Because (n − 1)s + s = ns = e, (n − 1)s is the inverse of s. If s ∈ <> then
(n − 1)s ∈ <> because of Equation (2). Therefore,
<> cont ...
... Proof. As is mentioned in the next section, Zn is a cyclic group of order n. By the definition of a cyclic group, any element of Zn s satisfies ns = e. Because (n − 1)s + s = ns = e, (n − 1)s is the inverse of s. If s ∈ <
Tonal Harmony Chapter 12 Non Chord Tones 2
... The usual characteristic of the escape tone in tonal music is, short, unaccented and diatonic ...
... The usual characteristic of the escape tone in tonal music is, short, unaccented and diatonic ...
gregorian chant as a compositional element
... world in which they reside. It is only natural then that these new perceptions and beliefs be reflected in that which is so special to us as a species, our art. Music changed more between the years 1880 through 1920 then it had in any other time. This change was most apparent in the tonal organizati ...
... world in which they reside. It is only natural then that these new perceptions and beliefs be reflected in that which is so special to us as a species, our art. Music changed more between the years 1880 through 1920 then it had in any other time. This change was most apparent in the tonal organizati ...
Ancient Greek Music: A Technical History by Stefan Hagel
... to C, but avoids F♯ in favour of F♮. If she does that, she will have modulated back to C-major. But though the modulation to G-major will have been short lived, it will have been enough to signal a break from the prevailing C-major environment and thereby introduce a little bit of variety. The disti ...
... to C, but avoids F♯ in favour of F♮. If she does that, she will have modulated back to C-major. But though the modulation to G-major will have been short lived, it will have been enough to signal a break from the prevailing C-major environment and thereby introduce a little bit of variety. The disti ...
Intonation Variables in the Performance of Twelve
... long determined intonation preferences apparently continue to override any supposed conditioning to equal-tempered tuning. Twelve-tone music, despite the multiplicity of enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme ...
... long determined intonation preferences apparently continue to override any supposed conditioning to equal-tempered tuning. Twelve-tone music, despite the multiplicity of enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme ...
Late Medieval Music
... • A type of composition developed from 900-1250 • POLYPHONIC • based on a (pre-existing) chant or fragment thereof to which one or more contrapuntal parts are added • as it started with improvisation, one could call it a technique as well • no certain connection to “organ” as in the instrument ...
... • A type of composition developed from 900-1250 • POLYPHONIC • based on a (pre-existing) chant or fragment thereof to which one or more contrapuntal parts are added • as it started with improvisation, one could call it a technique as well • no certain connection to “organ” as in the instrument ...
Late Medieval (Gothic) Music Gothic Era
... motets from a 14th century music theorist: “This sort of song should not be performed before ordinary people because they do not notice its fine points nor enjoy listening to it, but before learned people and those on the lookout for subtleties in the arts.” ...
... motets from a 14th century music theorist: “This sort of song should not be performed before ordinary people because they do not notice its fine points nor enjoy listening to it, but before learned people and those on the lookout for subtleties in the arts.” ...
Anton Heiller`s individual use of twelve tone technique
... Messe über Zwölftonmodelle (a capella) is of smaller scope and was found much easier to perform. The tone row which forms the basis here is very much “tonally centered”, and it even returns to its opening tonality of e minor with the hint of a cadence. This kind of tone row even makes it possible to ...
... Messe über Zwölftonmodelle (a capella) is of smaller scope and was found much easier to perform. The tone row which forms the basis here is very much “tonally centered”, and it even returns to its opening tonality of e minor with the hint of a cadence. This kind of tone row even makes it possible to ...
Nenano
Phthora nenano (Medieval Greek: φθορά νενανῶ, also νενανὼ) is the name of one of the two ""extra"" modes in the Byzantine Octoechos—an eight mode system, which was created during reforms of the Monastery Agios Sabas, near Jerusalem, and the Stoudiou-Monastery between the seventh and the tenth century.