Theory of Music-Stravinsky
... regarded as the “Picasso of music”. (Stravinsky collaborated with Picasso himself on the Neo-Classic ballet “Pulcinella”). In Cubism, interlock is when material is dislocated into smaller parts and assembled so that strong borders appear between these disjunct parts. It creates a strong visual “buzz ...
... regarded as the “Picasso of music”. (Stravinsky collaborated with Picasso himself on the Neo-Classic ballet “Pulcinella”). In Cubism, interlock is when material is dislocated into smaller parts and assembled so that strong borders appear between these disjunct parts. It creates a strong visual “buzz ...
Playing with Sums: Reconsidering Additive Rhythm in Balkan Music
... Sachs’s (1953) additive rhythm is one of several different concepts that have been used to account for this type of periodic rhythm (others include Bra iloiu’s [1984] aksak rhythm, Hasty’s [1997] pure unequal meter, and London’s [2004] non-isochronous meter). In evaluating additive rhythm, we should ...
... Sachs’s (1953) additive rhythm is one of several different concepts that have been used to account for this type of periodic rhythm (others include Bra iloiu’s [1984] aksak rhythm, Hasty’s [1997] pure unequal meter, and London’s [2004] non-isochronous meter). In evaluating additive rhythm, we should ...
Connections: Original Compositions with Detailed
... also necessary to conduct a thorough examination of, and reflection on, the wider music tradition by being open to all forms and aspects of contemporary music. The study encourages the composer to take a broad view by exploring experimental music that may initially appear strange or uncomfortable. ...
... also necessary to conduct a thorough examination of, and reflection on, the wider music tradition by being open to all forms and aspects of contemporary music. The study encourages the composer to take a broad view by exploring experimental music that may initially appear strange or uncomfortable. ...
This Worldes Joie Part 1 analysis
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
24. Debussy Pour le piano: Sarabande Introduction and Performance circumstances
... Modality (the principal tonality is Aeolian-mode C sharp minor). The Aeolian mode on C sharp has the same notes as the descending melodic minor on that note. It lacks the A sharp of the ascending melodic minor and above all the raised leading note B sharp that is so characteristic of the ‘ordinary’ ...
... Modality (the principal tonality is Aeolian-mode C sharp minor). The Aeolian mode on C sharp has the same notes as the descending melodic minor on that note. It lacks the A sharp of the ascending melodic minor and above all the raised leading note B sharp that is so characteristic of the ‘ordinary’ ...
This Worldes Joie Part 4 analysis
... The final octatonic chord on A moves (via a harp glissando) to Eb, a tritone away. As will be seen below, the opening music of the last movement is octatonic, and the punctuating chords in the third movement’s coda could be considered a means of “grounding” the music, giving it a sense of tonality t ...
... The final octatonic chord on A moves (via a harp glissando) to Eb, a tritone away. As will be seen below, the opening music of the last movement is octatonic, and the punctuating chords in the third movement’s coda could be considered a means of “grounding” the music, giving it a sense of tonality t ...
Grade 2 - Farmington River Regional School District
... 1.3 Sing from memory a variety of songs representing genres and styles from diverse cultures and historical periods 2.1 Demonstrate and respond to: the beat, division of the beat, meter (2/4, 3/4, 4/4), and rhythmic notation, including half, quarter, eighth, and sixteenth notes and rests 5.1 Perceiv ...
... 1.3 Sing from memory a variety of songs representing genres and styles from diverse cultures and historical periods 2.1 Demonstrate and respond to: the beat, division of the beat, meter (2/4, 3/4, 4/4), and rhythmic notation, including half, quarter, eighth, and sixteenth notes and rests 5.1 Perceiv ...
Clara Wieck-Schumann: Piano Trio in G minor, Op. 17, movement 1
... century. She also knew, and had famous correspondence with, Johannes Brahms, whose composing she encouraged. The piece ...
... century. She also knew, and had famous correspondence with, Johannes Brahms, whose composing she encouraged. The piece ...
Chopin – Prelude No.15 in Db major, Op.28
... Features of the Romantic Style Emphasis on expressing a wide range of feelings and emotions Longer and more developed melody lines Freedom in use of form and structure Extended vocabulary of chords i.e. Dominant 13th Chromatic and discordant harmony to portray grief and anguish Strong a ...
... Features of the Romantic Style Emphasis on expressing a wide range of feelings and emotions Longer and more developed melody lines Freedom in use of form and structure Extended vocabulary of chords i.e. Dominant 13th Chromatic and discordant harmony to portray grief and anguish Strong a ...
Shifted Downbeats in Classic and Romantic
... each arpeggiation begins one beat before the accent of a half-note pulse, while in mm. 33-36 and mm. 38-42, they begin right on the half-note accents. The latter instances are normative, since the rising arpeggios begin with a solid bass tone, while the falling arpeggios create a more ethereal rhyth ...
... each arpeggiation begins one beat before the accent of a half-note pulse, while in mm. 33-36 and mm. 38-42, they begin right on the half-note accents. The latter instances are normative, since the rising arpeggios begin with a solid bass tone, while the falling arpeggios create a more ethereal rhyth ...
CHAPTER 8
... • Franco posited four basic musical durations: duplex long, long, breve and semibreve, and each of these had a corresponding rest. • Except for the duple relationship between double long and long, all relationships were triple. • This is the basis of the music of what we call the Ars antiqua (Old A ...
... • Franco posited four basic musical durations: duplex long, long, breve and semibreve, and each of these had a corresponding rest. • Except for the duple relationship between double long and long, all relationships were triple. • This is the basis of the music of what we call the Ars antiqua (Old A ...
John Cage: Sonatas and Interludes: Sonatas I-III
... treble movement over static or ostinato accompaniment (Sonata II, bar 17; Sonata III, bar 1) ...
... treble movement over static or ostinato accompaniment (Sonata II, bar 17; Sonata III, bar 1) ...
Listening Guide and Listening Challenge material: Medieval - Renaissance
... Chromatic a scale consisting of only half steps, or a passage of music that moves by half steps. modulation Moving the tonal center from one key to another key Rhythm [13] The pattern of long and short notes within a meter. Meter [13] Strong and weak beat patterns are organized into groups of two, t ...
... Chromatic a scale consisting of only half steps, or a passage of music that moves by half steps. modulation Moving the tonal center from one key to another key Rhythm [13] The pattern of long and short notes within a meter. Meter [13] Strong and weak beat patterns are organized into groups of two, t ...
doc Art of Listening Midterm Notes
... - Recitative was used for plot action, dialogue, and other places in the drama where it is particularly important for the words to be brought out. Aria: - a vocal number for solo singer and orchestra, generally in an opera, cantata, or oratorio. - A set piece for solo singer tht has much more musica ...
... - Recitative was used for plot action, dialogue, and other places in the drama where it is particularly important for the words to be brought out. Aria: - a vocal number for solo singer and orchestra, generally in an opera, cantata, or oratorio. - A set piece for solo singer tht has much more musica ...
Advanced Rhythm Reading Packet
... Just as in simple meter, the syllable ta always falls on the beat. Recall that in simple meter, the syllable di is used for the note that occurs exactly halfway through the beat. In compound meter the subdivisions that occur ⅓ and ⅔ of the way through the beat receive the syllables ki and da respect ...
... Just as in simple meter, the syllable ta always falls on the beat. Recall that in simple meter, the syllable di is used for the note that occurs exactly halfway through the beat. In compound meter the subdivisions that occur ⅓ and ⅔ of the way through the beat receive the syllables ki and da respect ...
Psychology of Music Learning
... • Clark – problems with psychological investigation of rhythm – Assuming that formal structure and perceptual properties function in same way – Subjective variability of psychological processes – Tendency to confuse cultural norms with perceptual norms ...
... • Clark – problems with psychological investigation of rhythm – Assuming that formal structure and perceptual properties function in same way – Subjective variability of psychological processes – Tendency to confuse cultural norms with perceptual norms ...
File
... types of Beat – Simple and Compound Three Common Meters – duple, triple and quadruple Any number representing a note value can be used for any meter ...
... types of Beat – Simple and Compound Three Common Meters – duple, triple and quadruple Any number representing a note value can be used for any meter ...
Reading Music: Getting the Rhythm Right
... Or maybe we want a half-note divided into three equal parts. ...
... Or maybe we want a half-note divided into three equal parts. ...
pptx
... • Tatums or Ticks. Small unit of time. Beats and note onsets are described in units of tatums from the beginning of measure or cycle Above is an example of a hierarchy • Classification of a series of onsets into a type of rhythm based on minimizing the complexity of the required hierarchy or minimiz ...
... • Tatums or Ticks. Small unit of time. Beats and note onsets are described in units of tatums from the beginning of measure or cycle Above is an example of a hierarchy • Classification of a series of onsets into a type of rhythm based on minimizing the complexity of the required hierarchy or minimiz ...
Time Signatures Demystified
... • The problem is that dotted notes cannot be represented by a number (which show its relationship to the whole note). • Instead, the numbers that make up a compound time signature have different meanings than in simple time signatures. • Rather than refer to beats, the numbers refer to the subdivisi ...
... • The problem is that dotted notes cannot be represented by a number (which show its relationship to the whole note). • Instead, the numbers that make up a compound time signature have different meanings than in simple time signatures. • Rather than refer to beats, the numbers refer to the subdivisi ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... added values -- the addition of some note value to beats of a measure additive rhythm -- passages in which some short note value remains constant but is used in groups of predictably varying lengths ametric -- music in which there is no perceivable metric organization assymetrical meter -- usually, ...
... added values -- the addition of some note value to beats of a measure additive rhythm -- passages in which some short note value remains constant but is used in groups of predictably varying lengths ametric -- music in which there is no perceivable metric organization assymetrical meter -- usually, ...
meter
... recurring pattern of strong and weak beats. This recurring pattern of durations is identified at the beginning of a composition by a meter signature or time signature. ...
... recurring pattern of strong and weak beats. This recurring pattern of durations is identified at the beginning of a composition by a meter signature or time signature. ...
Elements of Music: Sound, Melody, Rhythm, and
... 3. Melody is the most familiar musical element for many students to listen for. Have students practice becoming aware of and listening for melodic structure in familiar tunes—whether folk songs or popular music—to introduce the idea of listening over the course of an entire piece. 4. Students should ...
... 3. Melody is the most familiar musical element for many students to listen for. Have students practice becoming aware of and listening for melodic structure in familiar tunes—whether folk songs or popular music—to introduce the idea of listening over the course of an entire piece. 4. Students should ...
Quintuple meter
Quintuple meter (Brit. metre) or quintuple time (chiefly Brit.) is a musical meter characterized by five beats in a measure. Like the more common duple, triple, and quadruple meters, it may be simple, with each beat divided in half, or compound, with each beat divided into thirds. The most common time signatures for simple quintuple meter are 54 and 58, and compound quintuple meter is most often written in 158. A time signature of 158, however, does not necessarily mean that the bar is a quintuple meter with each beat divided into three. It may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into five parts. In this case, the meter is sometimes characterized as ""triple quintuple time"". It is also possible for a 158 time signature to be used for an irregular, or ""additive"" metrical pattern, such as groupings of 3 + 3 + 3 + 2 + 2 + 2 eighth notes or, for example in the Hymn to the Sun and Hymn to Nemesis by Mesomedes of Crete, 2 + 2 + 2 + 2 + 2 + 3 + 2, which may alternatively be given the composite signature 8+78. Quintuple meter can also be notated by using regularly alternating bars of triple and duple meters, for example 24 + 34, or 68 + 98, or through the use of ""compound meters"", in which two or three numerals take the place of the expected numerator 5, for example, 2+38, or 2+1+28. Conversely, the presence of a 54 or 58 meter signature does not necessarily mean that the music is in quintuple meter. The regular alternation of 54 and 44 in Bruce Hornsby's ""The Tango King"" (from the album Hot House), for example, results in an overall nonuple meter (5 + 4 = 9).