The Influence of Renaissance Music in Ernst Krenek`s Lamentatio
... Brumel, Palestrina, Tallis, and Victoria. Many of these settings achieved considerable
fame and remain part of the standard repertoire for choirs even today.
Krenek’s selection of this text is made remarkable by the dearth of such settings
composed after 1600. After being set so frequently during t ...
General Principles of Harmony by Alan Belkin
... human brain's highly evolved capacities for making sense of auditory experience have
surely not changed over the past few centuries.
Another, related method, consists of intensive drill with harmonic formulas. Based on
the notion that harmony, like language, uses many idioms, the goal here is to lea ...
Stream Segregation and Perceived Syncopation
... patterning” (315). This would certainly apply to the monophonic and isochronous movements from Bach’s solo string music.
Although the continuous repetition of a single duration eliminates the possibility of variety in the durational rhythms, tonal
rhythms are created by accent patterns that emerge a ...
AN AURAL SKILLS HANDBOOK FOR MODAL MUSIC A thesis
... I hope this book will offer a practical approach to understanding modal music: both
how it sounds and how it functions. With that in mind, I have used modern notation rather
than neumatic notation. Learning a whole new system of notation would be extremely
confusing to students, and it would run com ...
... identifier. Met Opera scenes are also available.
• An online EBook, identical to the print copy, with links to all referenced media.
• Review Materials, including chapter quizzes, listening quizzes, outlines, and flashcards
If you can sing “Joy to the World” you can learn to
... just as close, when we take this scale and move it to the keyboard below. Chant only uses the
white keys on the piano except for an occasional 8, TE.
Chant was sometimes written with the DO and FA lines in Green and Red to teach singers
that these are close intervals. Every other key on the piano is ...
Let`s start! - WordPress.com
... Polyphonic music consists of two or more voices, but it is distinct from
heterophony. In heterophonic texture, the part that all voices play is based upon
the same melody (though the same notes may not be played). Polyphony is based on
counterpoint. Counterpoint is a Latin term that in musical terms ...
Dhrupad - Dagarvani.org
... accompaniment realizing the mood and personality of the raga. The alap has slow, medium, fast tempo
(laya) phases called the vilambit, madhya and dhrut. With a customary vocal range of two and a half octaves,
the alap usually begins with the tonic of the middle octave at its center. The vocalist gra ...
TENOR VOICE RANGE Tenor voice range
Musica Ficta and
... tonality involves an increase in structural complexity; or indeed that tonality depends primarily
upon chordal, vertical relationships at all. It is sufficient here to note that many of Monteverdi’s
works exploit novel techniques of tonal integration, not necessarily invented by the composer, and
Music in the Renaissance
... The new harmonic language of consonant thirds and sixths that developed in England in the
fourteenth century infused the three main genres of fifteenth-century music: Mass, motet, and
chanson. John Dunstable’s (c. 1390–1453) Quam pulchra es illustrates both this new harmonic
basis and new trends in ...
Romantic and impressionist harmony
... mix chord of I with chord of VI . A special case is I withaltered I, also a mixed third chord or split−third chord
with both major and minor third, usually separated by an octave or more. It can be seen as a form of bitonality,
which combines chords from different keys. After some basic examples, tw ...
Synthesis of Divergent Early and Twentieth
... features characteristics of both early
and twentieth-century music.1 This
article identifies these early and new elements
and discovers how they are synthesized into a
twentieth-century idiom. Most significantly, this
mass reveals a disparate harmonic language that
includes modality, octatonicism, p ...
paper - Personal Web Pages
... system of “perfect” and “imperfect” consonance,
“dissonance,” and “empty” consonance.
Criteria for categorization were as follows:
Octaves/unisons (1200¢/0¢) and just fifths/fourths
(702¢/498¢) were discarded as “empty” consonances.
Certain thirds and sixths were considered “perfect,” vis à
vis octa ...
... Each chant falls into nine separate sections. The three repetitions of the
sections form three larger units which, in turn, make up the complete chant.
While there is considerable variety in the melodic treatment of the text, the
text itself had remained constant in the above form since ca. 900.
`Modality` and other short articles for EPMOW
... drone). Drones act as tonal reference point and background for the changing
pitch of other strands in the music. They are a common feature in many
forms of popular music throughout the world and may be vocal or instrumental.
Vocal drones can be found in, for example, the antiphonal rhythms of tradit ...
doc Art of Listening Midterm Notes
... - a musical texture involving a single melodic line, as in Gregorian Chant.
- Simplest texture
- Monophonic texture is seen is “row row row your boat”
- Musical texture in which two or more lines are sung or played simultaneously.
- In polyphony, the melodies are felt to be independent a ...
History of Western Music Lecture 9: Renaissance Cultural
... Modal harmony: We are starting to see that the bass line has a function different from
the upper voices as it becomes the foundation of harmony. In general, because more attention is paid to the vertical element and to the interrelation of all the voices than in the
Middle Ages, there are richer har ...
Related Articles CD Review by JF Weber
... polyphony, while Asensio directs the chant
segments, using Roman books of 1586/87 and a
1515 book from Toledo for the two Spanish chants.
Both have proved their expertise and scholarship in
previous recordings of polyphony and chant,
respectively. The recording was made at San Miguel
in Cuenca durin ...
Reading guide Christensen, ch. 12 “Renaissance modal theory” by
... twenty-four combinations of ambitus, signature, and final, and suggests ways in which
each combination might be thought of as similar to a traditional mode. Meier, on the
other hand, believes that composers were consciously thinking modes when writing
polyphony, but were thinking more about characte ...
history of Western music
... about 1450 until about 1550 most of the important musical posts in Europe were
held by composers born in present-day Holland, Belgium, and the adjoining
French territories. These composers are often called Netherlanders after the name
of their native region.
In general, the Netherlanders preferred a ...
... 1. Avoid A2 and A4…circle and identify undesirable intervals
15th-century music,p. 1/5
... Tapissier, Carmen, Cesaris not long ago sang so well that they astonished all Paris and all who came to
hear them. But the day came when they did not discant such finely wrought melody—so those who heard
them told me—as G. Dufay or Binchois. For these have a new practice of making a lively consonanc ...
Liturgical Function and Gregorian Chant in the Music of Paulus
... polyphonic performance of the uneven strophes. Most of the hymn texts used by Bucenus are common for the Catholic and Lutheran churches. The only one absent from the
Catholic liturgy is Dicimus grates tibi summe verum (2/2/22) with the Philip Melanchton’s
text intended for the feast of Archangel Mic ...
Similarities between Hindustani music and the Western music
... and F (in the F-hexachord Fa is B-flat). In each case,
the lowest note of the hexachord is always given the
name ‘Ut’. This means that there is always a
semitone between Mi and Fa and tones between all
Medieval music had a similar system, known as
other intervals within the hexachord. It was this fa ...
Organum (/ˈɔrɡənəm/) is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing ""by ear""—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.