Dissonant Harmony and “Seed-Tones”
... counterpoint and to experiment with the symbolic, mystical power of the single tone (Tick 1997, 50, 72, and 83). Similarly, Carol Oja paints Rudhyar as “a high priest . . . exploring the connection of dissonance to the spirit” (1999, 129) and a foil to the other acknowledged leader of the ultra-mode ...
... counterpoint and to experiment with the symbolic, mystical power of the single tone (Tick 1997, 50, 72, and 83). Similarly, Carol Oja paints Rudhyar as “a high priest . . . exploring the connection of dissonance to the spirit” (1999, 129) and a foil to the other acknowledged leader of the ultra-mode ...
A Grammar of Bora with Special Attention to Tone
... 3.11.2.4 Delinking by -⃝σ ‘future’ . . . . . . . . . . 3.11.2.5 Delinking by -ro ∼ -ra ‘frustrative, contraexpectation’ . . . . . . . . . . . . . . . . . 3.11.3 Bumping . . . . . . . . . . . . . . . . . . . . . . . . 3.12 Grammatical tone . . . . . . . . . . . . . . . . . . . . . . . 3.12.1 Tone on ...
... 3.11.2.4 Delinking by -⃝σ ‘future’ . . . . . . . . . . 3.11.2.5 Delinking by -ro ∼ -ra ‘frustrative, contraexpectation’ . . . . . . . . . . . . . . . . . 3.11.3 Bumping . . . . . . . . . . . . . . . . . . . . . . . . 3.12 Grammatical tone . . . . . . . . . . . . . . . . . . . . . . . 3.12.1 Tone on ...
A Theory of Tonal Hierarchies in Music
... music, but also they may be especially important there. This is because music does not provide fixed reference tones except as determined by the music itself. Thus, unlike other domains in which cognitive reference points are defined independently of the category (red is perceptually red whether it ...
... music, but also they may be especially important there. This is because music does not provide fixed reference tones except as determined by the music itself. Thus, unlike other domains in which cognitive reference points are defined independently of the category (red is perceptually red whether it ...
Modelling the similarity of pitch collections with expec
... A pitch collection may comprise the pitches of tones in a chord, a scale, a tuning, or the virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applic ...
... A pitch collection may comprise the pitches of tones in a chord, a scale, a tuning, or the virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applic ...
Modelling the similarity of pitch collections with expectation tensors
... A pitch collection may comprise the pitches of tones in a chord, a scale, a tuning, or the virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applic ...
... A pitch collection may comprise the pitches of tones in a chord, a scale, a tuning, or the virtual and spectral pitches heard in response to complex tones or chords. Modelling the perceived distance (the similarity or dissimilarity) between pairs of pitch collections has a number of important applic ...
prosody - ELTE / SEAS
... — The way stressed syllables follow each other in the “head” of the tone-unit is called rhythm. The unit of English rhythm is the rhythmic foot.9 A foot is a stressed syllable plus the unstressed syllables that follow it. Each tone unit is made up of one or more such feet. The first foot may be inco ...
... — The way stressed syllables follow each other in the “head” of the tone-unit is called rhythm. The unit of English rhythm is the rhythmic foot.9 A foot is a stressed syllable plus the unstressed syllables that follow it. Each tone unit is made up of one or more such feet. The first foot may be inco ...
PDF text - Music Theory Online
... that the tones’ rhythmic placement with respect to each other is perceived entirely differently: listeners can tell that one stream contains a faster rhythm than the other, but they cannot hear the galloping rhythm. The words “over time” are in Bregman’s definition of ASA are key. Consecutive tones ...
... that the tones’ rhythmic placement with respect to each other is perceived entirely differently: listeners can tell that one stream contains a faster rhythm than the other, but they cannot hear the galloping rhythm. The words “over time” are in Bregman’s definition of ASA are key. Consecutive tones ...
Journal of Portuguese Linguistics
... spread to the penultimate vowel, which in many cases is historically epenthetic. Relevant examples are given in table 1.3 As will be discussed in section 1.3, the non-high TBU’s of words of European origin are typically unspecified ...
... spread to the penultimate vowel, which in many cases is historically epenthetic. Relevant examples are given in table 1.3 As will be discussed in section 1.3, the non-high TBU’s of words of European origin are typically unspecified ...
Tonal Atonality: An Analysis of Samuel Barber`s
... tone row can be manipulated to produce 48 tone rows including the original tone row (Griffiths). In order to organize all 48 tone rows, Schoenberg developed matrices.1 In composing a single piece with tone rows, Schoenberg began by creating a single tone row and finding all 48 forms of that tone row ...
... tone row can be manipulated to produce 48 tone rows including the original tone row (Griffiths). In order to organize all 48 tone rows, Schoenberg developed matrices.1 In composing a single piece with tone rows, Schoenberg began by creating a single tone row and finding all 48 forms of that tone row ...
Pitch
... well as linguis4c meanings. • Ladd 1996 suggests that pitch range varies between speakers and also within speakers due to context and sentence posi4on, but what stays rela4vely constant is pitch level as ...
... well as linguis4c meanings. • Ladd 1996 suggests that pitch range varies between speakers and also within speakers due to context and sentence posi4on, but what stays rela4vely constant is pitch level as ...
Music, Cognition, and Computerized Sound: Chap14
... dissonant. Could this arise through lack of familiarity? Should triads such as 1:2:3, 2:3:4, 3:4:5, 4:5:6 have greater dissonance, the greater the initial number? Perhaps. Could this have implications for harmony? The triads 1:2:3 and 2:3:4 contain an octave and don’t sound at all chordlike. In the ...
... dissonant. Could this arise through lack of familiarity? Should triads such as 1:2:3, 2:3:4, 3:4:5, 4:5:6 have greater dissonance, the greater the initial number? Perhaps. Could this have implications for harmony? The triads 1:2:3 and 2:3:4 contain an octave and don’t sound at all chordlike. In the ...
1. Introduction - Studies in African Linguistics
... The surface tonal opacity of these examples derives from two factors. First, H tone shifts rightwards by one or two syllables, so the surface location of a H is indirectly related to its underlying location. Second, final H is deleted, but such a surface-absent H still affects how tones spread into ...
... The surface tonal opacity of these examples derives from two factors. First, H tone shifts rightwards by one or two syllables, so the surface location of a H is indirectly related to its underlying location. Second, final H is deleted, but such a surface-absent H still affects how tones spread into ...
Stress in simple words
... production of stress depends on the speaker using more muscular energythan is used for unstressed syllables. From the perception point of view, all stressed syllables have one characteristic in common, and that is prominence. Stressed syllables are more prominent than unstressed syllables. There are ...
... production of stress depends on the speaker using more muscular energythan is used for unstressed syllables. From the perception point of view, all stressed syllables have one characteristic in common, and that is prominence. Stressed syllables are more prominent than unstressed syllables. There are ...
f 1 - Jacobs University Mathematics
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
... A.Diederich– International University Bremen – USC – MMM – Spring 5 ...
Pitch
... and accurate es4mate of where a given tone falls in the pitch range of a speaker. Honorof & Whale 2005: listeners can do this even when only hearing one syllable. • Deutsch et al 2004: a ling ...
... and accurate es4mate of where a given tone falls in the pitch range of a speaker. Honorof & Whale 2005: listeners can do this even when only hearing one syllable. • Deutsch et al 2004: a ling ...
11( 31 11 ( 11( 31 11 ( 31 11 31
... use “real” music? This article offers some observations and information to help “tone-deaf” or “non-modeivated” persons understand more of the Byzantine musical system that has been part of Orthodox hymnology from its earliest days. It is not intended as a textbook, but as an introduction to a subje ...
... use “real” music? This article offers some observations and information to help “tone-deaf” or “non-modeivated” persons understand more of the Byzantine musical system that has been part of Orthodox hymnology from its earliest days. It is not intended as a textbook, but as an introduction to a subje ...
STRESS IN RAUSA - Studies in African Linguistics
... "apart from the natural emphasis which seems to be inherent in a long vowel--and generally speaking long vowels predominate in Hausa, especially at the end of a word--nouns have ordinarily no stress accent except when a vowel is final and precedes the enclitics ne and ce or the negative particle ba. ...
... "apart from the natural emphasis which seems to be inherent in a long vowel--and generally speaking long vowels predominate in Hausa, especially at the end of a word--nouns have ordinarily no stress accent except when a vowel is final and precedes the enclitics ne and ce or the negative particle ba. ...
verb forms and verb aspects in ngizim
... The first person singular and second person singular and plural are the only persons with AUX pronouns. Third person has no obligatory preverbal pronoun, though independent pronouns may be used to disambiguate gender and number if there is no noun subject. There are no auxpros for first person plura ...
... The first person singular and second person singular and plural are the only persons with AUX pronouns. Third person has no obligatory preverbal pronoun, though independent pronouns may be used to disambiguate gender and number if there is no noun subject. There are no auxpros for first person plura ...
Band 8/9 Playing Tests BUGS Individual test – FEBRUARY 25
... accents, etc.) are always executed accurately as directed by the score and/or the conductor. Dynamic levels are always ...
... accents, etc.) are always executed accurately as directed by the score and/or the conductor. Dynamic levels are always ...
- SOAS Research Online
... with l, r, y or w in second position are permitted (in addition to some unusual clusters with initial m + stop). In the syllable rhyme, a final glottal stop may occur after a vowel or vowel + glide (w or y) combination; otherwise, syllables may end in a final nasal consonant (m, n or ŋ) or stop (p, ...
... with l, r, y or w in second position are permitted (in addition to some unusual clusters with initial m + stop). In the syllable rhyme, a final glottal stop may occur after a vowel or vowel + glide (w or y) combination; otherwise, syllables may end in a final nasal consonant (m, n or ŋ) or stop (p, ...
Studies in African Linguistics Volume 17, Number 3, December
... Falling tones are surface manifestations of Hi + Lo on a single heavy syllable, e.g. [Caa] = l.caa./HL ...
... Falling tones are surface manifestations of Hi + Lo on a single heavy syllable, e.g. [Caa] = l.caa./HL ...
Animacy Constraints on Prepositional Objects in Medumba, a
... rules. We have established that the pronoun i, for example, carries a lexical H tone and does not have an L-tone prefix like most nouns. Therefore, assimilation takes place between the H portion of the num tonal contour and the pronoun, so the result does not look the same as the contour examples wi ...
... rules. We have established that the pronoun i, for example, carries a lexical H tone and does not have an L-tone prefix like most nouns. Therefore, assimilation takes place between the H portion of the num tonal contour and the pronoun, so the result does not look the same as the contour examples wi ...
Artistic Song Leading (Lesson 1)
... Pitch is the highness or lowness of a tone.. The term "pitch" is used in music to describe the aspect of music that is high or low (i.e. A singer can sing a high note or a low note) This should not be confused with loud or soft but instead is a description of a high pitch (like a child's voice) or a ...
... Pitch is the highness or lowness of a tone.. The term "pitch" is used in music to describe the aspect of music that is high or low (i.e. A singer can sing a high note or a low note) This should not be confused with loud or soft but instead is a description of a high pitch (like a child's voice) or a ...
Elements of Music
... b. When one or more of the elements of music are repeated identically while at the same time one or more are altered, both unity and contrast are created within the composition. c. When sets of melodic and/or rhythmic groupings are repeated within one or more phrases, they become Identifiable patter ...
... b. When one or more of the elements of music are repeated identically while at the same time one or more are altered, both unity and contrast are created within the composition. c. When sets of melodic and/or rhythmic groupings are repeated within one or more phrases, they become Identifiable patter ...