Music Theory - Why Bother? on Music Theory in Relation to Music Information Processing
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Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
Chapter 2. Corpus-Based Musicology. 11
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A programmer's environment for music analysis Author(s) Ó Maidín, Donncha Seán Publication date 1995 Original citation Ó Maidín, D. S. 1995. A programmer's environment for music analysis. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1230585~S0 version http://dx.doi.org/10.13140/2.1.3387.2969 Access to the full text of the published version may require a subscription. Rights © 1995, Donncha S. Ó Maidín http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1629 from Downloaded on 2021-10-05T12:42:50Z A Programmer’s Environment for Music Analysis by Donncha Seán Ó Maidín, M.Sc., B.Mus. Submitted in May 1995 to The National University of Ireland for the degree of Doctor of Philosophy and revised in September 1995. This thesis was registered in The Department of Music, Faculty of Arts, University College, Cork, and was completed under the internal supervision of Professor David Cox and under the external examination of Professor Anthony Pople of the University of Lancaster. Copyright Donncha Ó Maidín 1995. scoreView. Table of Contents. ACKNOWLEDGEMENTS. IX CHAPTER 1. INTRODUCTION. 1 1.1 Overview. 1 1.2 Contribution of this Study to the Field of Corpus-Based Musicology. 3 1.3 Goals. 4 1.3.1 Informational Completeness. 4 1.3.2 Informational Objectivity. 5 1.3.3 Multi-Level. -
Music Information Retrieval and Musicology: What Do the Two Have in Common?
Music Information Retrieval and Musicology: What do the two have in common? Frans Wiering Information and Computing Sciences Utrecht University Musical Heritage, Oslo, 11 December 2010 1 Topic two disciplines Music Information Retrieval musicology what is the relationship? meaningful to musicology? implications for digital editions data-richness 2 1 Preliminary descriptions Music Information Retrieval (MIR) delivering the right (digital) music in answer to a user need right: matching the user’s taste, expertise, emotional state, activity, and cultural, social, physical and musical environment musicology understanding music in its context e.g. personal, social, economic, historical, theoretical MIR versus musicology delivery vs. understanding generic vs. specific 3 Music universe of music > 25,000,000 unique items individuals can recognise several 1000s of items different views of music object, digital or otherwise product work of art process in time mental process social phenomenon 4 2 MIR as a discipline emerged in 1960s (Kassler 1966), maturing since late 1990s definition (Downie 2004) a multidisciplinary research endeavor that strives to develop innovative content-based searching schemes, novel interfaces, and evolving networked delivery mechanisms in an effort to make the world’s vast store of music accessible to all contributing areas (Futrelle and Downie 2002) computer science, information retrieval audio engineering, digital sound processing musicology, music theory library science cognitive science, -
An Introduction to Music Studies Pdf, Epub, Ebook
AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology. -
Flamenco Music Theory Pdf
Flamenco music theory pdf Continue WHAT YOU NEED TO KNOW:1) Andalusian Cadence is a series of chords that gives flamenco music its characteristic sound: In Music, a sequence of notes or chords consisting of the closing of the musical phrase: the final cadences of the Prelude.3) This progression of chords consists of i, VII, VI and V chords of any insignificant scale, Ending on V chord.4) The most commonly used scale for this chord progression is the Harmonic minor scale (in C minor: B C D E F G))5) The most common keys in flamenco are the Frigian, known as Por Medio in flamenco guitar, and consisting of Dm, C, Bb. Another common key is E Phrygian, known as Por Arriba on Flamenco guitar, and consisting of Am, G, F, E. E Phrygian (Por Arriba) is often used in Solea and Fandangos Del Huelva.THE ANDALUSIAN CADENCE: Today we will discuss really common chords and sound in flamenco: Andalus Cadens! Learning more about this sound will help the audience better appreciate flamenco music, provide flamenco dancers with a better understanding of the music that accompanies them, and non-flamenco musicians some basic theory to incorporate flamenco sounds into their music. At this point, if you want to skip the theory and just listen, go to LISTENING: ANDALUSIAN CADENCE IN THE WORLD. I would recommend reading the pieces of the theory just for some context. MUSIC THEORY: CHORD PROGRESSIONThic series of four chords is so ubiquitous in flamenco that anyone who listens to it should know it when they hear it. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
Postdoctoral Research Fellowship in Computational Musicological Analysis
Postdoctoral Research Fellowship in Computational Musicological Analysis Job description A Postdoctoral Research Fellowship (SKO1352) in Computational Musicological Analysis is available at RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. RITMO is a Centre of Excellence funded by the Research Council of Norway. This interdisciplinary centre focuses on rhythm as a structuring mechanism for the temporal dimensions of human life. Methods from musicology, psychology, neuroscience, and informatics are combined to study rhythm as a fundamental property that shapes and underpins human cognition, behavior and cultural expressions. For more information, see www.uio.no/ritmo. All RITMO researchers are co-located and work in a unique interdisciplinary constellation, with world-leading competence in musicology, psychology and informatics. It is expected that all members of the center contribute to the general activities and collaborations within RITMO. The researchers have access to state-of-the-art facilities in sound/video recording, motion capture, eye tracking, physiological measurements, various types of brain imaging (EEG, fMRI), and rapid prototyping and robotics laboratories. More about the position The postdoctoral fellow will take part in the MIRAGE project, aimed at designing and implementing a comprehensive computational framework for music analysis. The objective is to generate rich and detailed descriptions of music, encompassing a large range of dimensions, including low-level features, mid-level structures and high-level concepts. The envisioned methodology consists of close interaction between automated music transcription and detailed musicological analysis of the transcriptions. Significant effort will be dedicated to the design of applications of value for musicology, music cognition and the general public. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
Common Chord Progressions
COMMON CHORD PROGRESSIONS SECTION 1 000. 50's Progression I - vi - IV - V 001. Circle Progression I6 - IV - VII° - iii - vi6 - ii - V6 - I 002. ii - V - I Turnaround ii - V - I - I 003. V - IV - I Turnaround V - IV - I - I 004. Pachelbel's Canon I - V - vi - iii - IV - I - IV - V 005. Ragtime Progression VI7 - II7 - V7 - I 006. Pop-Progression I - V - vi - IV 007. Progr. I - V I - V - I - V 008. Progr. I - IV - V - I I - IV - V - I 009. Progr. I - IV - I - V I - IV - I - V 010. Progr. I - vi - IV - V I - vi - IV - V 011. Progr. I - V - vi - IV I - V - vi - IV 012. Progr. vi - IV - I - V vi - IV - I - V 013. Progr. I - vi - ii - V I - vi - ii - V 014. Progr. V - I - iii - iV V - I - iii - IV 015. Progr. I - V - ii - V I - V - ii - V 016. Progr. I - IV - vi - V I - IV - vi - V 017. Progr. vi - V - IV vi - V - IV - V 018. Andalusian cadence iv - #II - #I - I 019. Backdoor progression ii - #VI7 - I - I 020. Circle progression 2 vi6 - ii - V6 - I 021. Eight-bar blues I - V - IV - V7 - I - V - I - V7 022. Romanesca I - V - vi - III - I - V - III - vi 023. Hotel C. vi - III - V - II - IV - I - ii - III 024. Progr. I - ii - iii - IV I - ii - iii - IV 025. Progr. I-ii-iii-IV-VIb-VIIb-I-I I - ii - iii - IV - #V - #VI - I - I 026. Progr. -
16Th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)
applied sciences Meeting Report 16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain) Lorenzo J. Tardón 1,* , Isabel Barbancho 1,* , Ana M. Barbancho 1 , Alberto Peinado 2, Stefania Serafin 3 and Federico Avanzini 4 1 ATIC Research Group, Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 2 Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 3 Multisensory Experience Lab., Aalborg University Copenhagen, 2450 Copenhagen SV, Denmark; [email protected] 4 LIM–Laboratorio di Informatica Musicale, Department of Computer Science, University of Milan, 20133 Milan, Italy; [email protected] * Correspondence: [email protected] (L.J.T.); [email protected] (I.B.) Received: 5 June 2019; Accepted: 9 June 2019; Published: 19 June 2019 Abstract: The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28–31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25–28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc. 1. Summer School 1.1. Arduino and Audio David Cuartielles Malmö University, Sweden The Arduino and audio workshop looks at possible ways to create inter- active sound production machines using Arduino boards.