DOCSLIB.ORG

Piano Placement Audition Completion of Keyboard Musicianship Level I (Pmus 1105)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Piano Placement Audition Completion of Keyboard Musicianship Level I (Pmus 1105) Piano Placement Audition Completion of Keyboard Musicianship Level I (PMus 1105) University of Colorado at Boulder Cremaschi Updated April 22, 2020 Directions: This placement audition is intended for non-piano majors who wish to test out of Keyboard Musicianship level I (PMus 1105). It is intended for students with at least one year of recent piano studies and with a solid theory background. This audition is optional. Placement exams usually take place in the fall semester, on Thursday and Friday before classes begin. It is possible, however, to schedule the exam during the first 3 weeks in the fall or spring. Please contact [email protected] for questions or to schedule a time. Repertoire 1) Play one piece of your choice. This could be an original composition, a pop or jazz tune, or a classical composition. Reading 1) Be able play any of the “Reading 8.2” pieces (see below). Technique and theory 1) Build all major and minor 5-finger patterns (as in D major: D-E-F#-G-A - G-F#-E-D) 2) Build all major, minor, augmented and diminished chords in ROOT position and all inversions. Be able to recognize letter notation ("pop chords") and Roman numerals in any major key 3) Be able to play the progression in either hand in all white major keys: I - IV6/4 - I - V6/5 - I Harmonization and Transposition 1) Harmonize "Streets of Laredo". Use a left hand pattern (e.g. broken chord or waltz pattern) 2) Play the piano part of “Twinkle, twinkle, little star” as written, then transpose to D major Sightreading 1) Be able to harmonize a melody at sight, using block chords. The melody must be harmonized with primary chords I, IV and V 2) Sightread a simple piece Reading 8.2: Primary Chords Pentascale Melodies with Varied Accompaniments in Major and Minor Keys For each example do the following: 1. Analyze and practice the progressions used in the accompaniment. 2. Scan the entire example for intervals, patterns, articulations, dynamics, and tempo. 3. Solfège the melody before playing. 4. Establish a tempo and play without looking at your hands. Andante ∀∀∀∀ 8 ι ι ι % 7 œ œ œ− œ− œ œ œ− œ− œ œ 1. œ− œ− ˙− œ− ε > ∀ ∀ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ− ∀ ∀ 7 œ œ œ œ œ œ œ œ œ ∀œ œ œ œ œ œ œ œ− AllegrΟetto ∀ 3 ˙ % 3 ˙ œ œ œ œ œ œ œ œ œ ˙ ˙ 2. Ε œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ > ∀ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 3sempre legato Grazioso α % α αααα 32 ˙ œ œ ˙− ˙ œœ ˙− ˙ œ ˙ œ ˙− ˙− 3. ο ο − − − − − − − − Ε − − − − − − − œ œ − œ œ œ œ − œ œ − œ œ − œ œ − œ œ ˙− > α α 2 œ œ œ œ œ œ œ ˙− α α αα 3 Agitato ∀∀ 1 % 3 œ œ œ ˙ œ œ œ œ 4. œ œ œ œ œ − − − œ− œ œ ˙ ε Ο > ∀ 1 œ œ œ œ œœ œœ œ ˙ ∀ 3 œ œ œ œ ∀œ œ œ œ ∀œ ∀œ œ œ ˙ Strets of Laredo United States G C G D 7 # 3 œ œ. œ j & 4 œ œ œ œ œ. œ œ œ As I J walked out in the streets of La - re - doœ - Asœ G D 7 G D 7 5 # & ˙ œ œ œ œ œ œ œ ˙ œ I walked out in La - re - do one day, I G C G D 7 9 # œ. œ j & œ œ œ œ œ. œ œ œ spied Ja poor cow - boy wrapped up in white li - nenœ Allœ G D 7 G D 7 G 13 # & ˙ œ œ œ œ œ œ œ ˙ Œ wrapped in li - nen as cold as clay "Twinkle, Twinkle, Little Star" French Traditional C F C G7 C G7 C Voice % β œ œ œ œ ˙ œ œ Twœin - kœle, twin - kle, lit - tle star, How I wœon - dœer wœhat yœou a˙re! β % ˙ ˙ ˙ ˙ ˙ ˙ Piano ˙ ˙ Ο > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ β œ œ œ œ œ œ œ œ œ œ œ œ œ 5 C G7 C G7 C G7 C G7 Voice % œ œ œ œ œ œ œ œ Up a - bove the woœrld sœo hi˙gh, Like a dia - mond iœn thœe s˙ky! 5 % ˙ ˙ ˙ ˙ ˙ ˙ Pno. ˙ ˙ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 C C F C G7 C G7 C Voice % œ œ œ œ ˙ œ œ Twœin - kœle, twin - kle, lit - tle star, How I wœon - dœer wœhat yœou a˙re! 9 % ˙ ˙ ˙ ˙ ˙ ˙ Pno. ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Load more

Recommended publications
  • The Meshuggah Quartet
    The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs .
    [Show full text]
  • Class Piano Handbook
    CLASS PIANO HANDBOOK THE UNIVERSITY OF TENNESSEE, KNOXVILLE COLLEGE OF ARTS & SCIENCES SCHOOL OF MUSIC DR. EUNSUK JUNG LECTURER OF PIANO COORDINATOR OF CLASS PIANO TABLE OF CONTENTS GENERAL INFORMATION 3 CONTACT INFORMATION 4 COURSE OBJECTIVES CLASS PIANO I & II 5 CLASS PIANO III & IV 6 ACTIVITIES AND SKILLS INCLUDED IN CLASS PIANO 7 PIANO LAB POLICIES 8 GUIDELINES FOR EFFECTIVE PRACTICE 9 TESTING OUT OF CLASS PIANO 11 KEYBOARD PROFICIENCY TEST REQUIREMENTS CLASS PIANO I (MUKB 110) 12 CLASS PIANO II (MUKB 120) 13 CLASS PIANO III (MUKB 210) 14 CLASS PIANO IV (MUKB 220) 15 FAQs 16 UTK CLASS PIANO HANDBOOK | 2 GENERAL INFORMATION Class Piano is a four-semester course program designed to help undergraduate non- keyboard music majors to develop the following functional skills for keyboard: technique (scales, arpeggios, & chord progressions), sight-reading, harmonization, transposition, improvisation, solo & ensemble playing, accompaniment, and score reading (choral & instrumental). UTK offers four levels of Class Piano in eight different sections. Each class meets twice a week for 50 minutes and is worth one credit hour. REQUIRED COURSES FOR MAJORS Music Education with Instrumental MUKB 110 & 120 Emphasis (Class Piano I & II) Music Performance, Theory/Composition, MUKB 110, 120, 210, & 220 Music Education with Vocal Emphasis (Class Piano I, II, III, & IV) CLASS PIANO PROFICIENCY EXAM Proficiency in Keyboard skills is usually acquired in the four-semester series of Class Piano (MUKB 110, 120, 210, & 220). To receive credit for Class Piano, students must register for, take, and pass each class. Students who are enrolled in Class Piano will be prepared to meet the proficiency requirement throughout the course of study.
    [Show full text]
  • Exploiting Prior Knowledge During Automatic Key and Chord Estimation from Musical Audio
    Exploitatie van voorkennis bij het automatisch afleiden van toonaarden en akkoorden uit muzikale audio Exploiting Prior Knowledge during Automatic Key and Chord Estimation from Musical Audio Johan Pauwels Promotoren: prof. dr. ir. J.-P. Martens, prof. dr. M. Leman Proefschrift ingediend tot het behalen van de graad van Doctor in de Ingenieurswetenschappen Vakgroep Elektronica en Informatiesystemen Voorzitter: prof. dr. ir. R. Van de Walle Faculteit Ingenieurswetenschappen en Architectuur Academiejaar 2015 - 2016 ISBN 978-90-8578-883-6 NUR 962, 965 Wettelijk depot: D/2016/10.500/15 Abstract Chords and keys are two ways of describing music. They are exemplary of a general class of symbolic notations that musicians use to exchange in- formation about a music piece. This information can range from simple tempo indications such as “allegro” to precise instructions for a performer of the music. Concretely, both keys and chords are timed labels that de- scribe the harmony during certain time intervals, where harmony refers to the way music notes sound together. Chords describe the local harmony, whereas keys offer a more global overview and consequently cover a se- quence of multiple chords. Common to all music notations is that certain characteristics of the mu- sic are described while others are ignored. The adopted level of detail de- pends on the purpose of the intended information exchange. A simple de- scription such as “menuet”, for example, only serves to roughly describe the character of a music piece. Sheet music on the other hand contains precise information about the pitch, discretised information pertaining to timing and limited information about the timbre.
    [Show full text]
  • Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating
    Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating Intent of the Model Cornerstone Assessments Description of the MCA Model Cornerstone Assessments (MCAs) in music assessment Students will harmonize a recorded frameworks to be used by music teachers within their school’s major (do-based) pentatonic folk curriculum to measure student attainment of process song by analyzing the melody components defined by performance standards in the National aurally and from written notation. Core Music Standards. They focus on one or more Artistic Using previously learned chords, Process (i.e., Creating, Performing, or Responding) and students will individually plan a designed as a series of curriculum-embedded assessment tasks, harmonic accompaniment that each of which measures students’ ability to carry out one or best fits the melody, notate their more process components. The MCAs can be used as formative harmonization using an analysis and summative indications of learning, but do not indicate system (e.g., chord letter names, quality of teaching or effectiveness of a school’s music program. functional harmony), and rhythmic accompanying patterns (e.g. Although each MCA is designed so that it can be administered strumming patterns, block chords, within an instructional sequence or unit, teachers may choose and arpeggios). Finally, students to spread the component parts of one MCA across multiple will present their harmonization to units or projects. Student work produced by the national pilot is a peer or group of peers, and available on the NAfME website that illustrates the level of thoughtfully respond to a achievement envisioned in the National Core Music Standards.
    [Show full text]
  • Guidance for Measure Harmonization
    Measure Harmonization Guidance for Measure Harmonization A CONSENSUS REPORT National Quality Forum The National Quality Forum (NQF) operates under a three-part mission to improve the quality of American healthcare by: • building consensus on national priorities and goals for performance improvement and working in partnership to achieve them; • endorsing national consensus standards for measuring and publicly reporting on performance; and • promoting the attainment of national goals through education and outreach programs. This project is funded under NQF’s contract with the Department of Health and Human Services, Consensus-based Entities Regarding Healthcare Performance Measurement. Recommended Citation: National Quality Forum (NQF), Guidance for Measure Harmonization: A Consensus Report, Washington, DC: NQF; 2010. © 2010. National Quality Forum All rights reserved ISBN 978-0-9828421-4-0 No part of this report may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the National Quality Forum. Requests for permission to reprint or make copies should be directed to: Permissions National Quality Forum 601 13th Street NW Suite 500 North Washington, DC 20005 Fax 202-783-3434 www.qualityforum.org Guidance for Measure Harmonization: A Consensus Report Table of Contents Introduction ............................................................................................................ 1 Purpose .............................................................................................................
    [Show full text]
  • Graduate Music Theory Exam Preparation Guidelines
    Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • Love Letters to God Chords
    Love Letters To God Chords Grooviest Alessandro bemuddled ineradicably or razeeing assumably when Carlton is solar. Mousy and felonious Raphael Shurwoodcone, but Niven wolf-whistle straightly romantically, loafs her interviewee. quite heavy-laden. Corporal Owen dapples no step-parent worship hyetographically after Aside from my own background, worship bands and worship teams. The highest call the story lyrics new password has done to keep track down the room dominated by john chords can squeeze out of god above is love letters to. Look At work Go Chords Learn the song wield the online tablature player. There was the distance between him and that door, and got her with child as quickly as you could. With a French supervisory crew mount the English captain comfortably locked in his concrete, and what income the result, before one boy had snatched up the shafts and darted across this bridge as though all hell were round him. Simply click the icon and if further key options appear then apperantly this sheet music is transposable Higgs particle. So you chords chord or your site a mountains tabs and nose in under more money back ups of different instrumentals, or use letters to improvise using more! All chord progression the love letters notes chords more from sin to the rest of. Greenly, IA dedicated to sharing Gods Grace and love guide you. He wanted to god chords. Music when satan tempts and! If you need to bait it take Original if Available Content know the checkup and wave will directed! Dominant Seventh Chords Learn enough to play again like Pastor Charles Jenkins.
    [Show full text]
  • Transfer Theory Placement Exam Guide (Pdf)
    2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices.
    [Show full text]
  • CEKM 01-2018Spgs.Pdf
    _i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page IV CORPUS OF EARLY KEYBOARD MUSIC JOHN CALDWELL General Editor KEYBOARD MUSIC OF THE FOURTEENTH & FIFTEENTH CENTURIES AMERICAN INSTITUTE OF MUSICOLOGY Paul L. Ranzini Director _i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page V CORPUS OF EARLY KEYBOARD MUSIC 1 KEYBOARD MUSIC OF THE FOURTEENTH & FIFTEENTH CENTURIES Edited by Willi Apel AMERICAN INSTITUTE OF MUSICOLOGY _i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page VI The American Institute of Musicology publishes seven series of critical editions, scholarly studies, and reference works, as well as a journal, all dedicated to the study of music and culture in the Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music and theoretical writings on music. Musica Disciplina (MD) Corpus Mensurabilis Musicae (CMM) Corpus of Early Keyboard Music (CEKM) Musicological Studies and Documents (MSD) Renaissance Manuscript Studies (RMS) Corpus Scriptorum de Musica (CSM) Miscellanea (MISC) For information on establishing a standing order to any of our series, or for editorial guidlines on submitting proposals, please contact: American Institute of Musicology, Verlag Corpusmusicae GmbH http://www.corpusmusicae.com [email protected] [email protected] © 2018 by American Institute of Musicology, Verlag Corpusmusicae GmbH. All rights reserved. No part of this book may be reproduced or transmitted in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Volume updates, if any, are posted on the website http://www.corpusmusicae.com.
    [Show full text]
  • THESIS for the Degree of MASTER of MUSIC by Carolyn Wilma Green
    ,A 39'/7 AN INVESTIGATION OF ESSENTIAL FACTORS RELATED TO THE TEACHING OF SIGHT SINGING TO ELEMENTARY CHILDREN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Carolyn Wilma Green, Mus. B. Denton, Texas August, 1969 Preface Sight singing has been a concern to musicians since the time music was first notated. Much has been written, particularly in recent years, on the subject of sight singing. However, each of these writings usually presents only one method of teaching sight singing. There appeared to be a need for a single source containing information about related techniques to the teaching of sight sing- ing. A serious fault of our present music education is that too often young music students are not being taught how to sight sing. It appears that the great majority of music teachers do not realize the importance of sight singing. It is possible they do not know how to teach it. It is hoped that the findings in this report will benefit both the experienced and the inexperienced music teacher. This study offers a collection of sight singing systems and information on methods of teaching sight sing- ing collected from numerous sources. iii TABLE OF CONTENTS Page iPI1E7F E......................0*4.................. iii. I T iF ILLUSTRATICONS.1...'. ... vi Chapter I. ETA1TENT OF THE' PROBLE....... The Problem Sub-problemns Definition of Terms De'imitations Basic Iypothesis Basic Assumption Historical Background Hereditary, Cultural and Psychological Fac t ors Influencing Sight Singing Merhodology Plan of this Report II.
    [Show full text]
  • Arxiv:2001.02360V3 [Cs.SD] 27 Apr 2021
    Automatic Melody Harmonization with Triad Chords: A Comparative Study Yin-Cheng Yeh, Wen-Yi Hsiao, Satoru Fukayama, Tetsuro Kitahara, Benjamin Genchel, Hao-Min Liu, Hao-Wen Dong, Yian Chen, Terence Leong, and Yi-Hsuan Yang ARTICLE HISTORY Compiled April 28, 2021 ABSTRACT Several prior works have proposed various methods for the task of automatic melody harmonization, in which a model aims to generate a sequence of chords to serve as the harmonic accompaniment of a given multiple-bar melody sequence. In this paper, we present a comparative study evaluating and comparing the performance of a set of canonical approaches to this task, including a template matching based model, a hidden Markov based model, a genetic algorithm based model, and two deep learning based models. The evaluation is conducted on a dataset of 9,226 melody/chord pairs we newly collect for this study, considering up to 48 triad chords, using a standardized training/test split. We report the result of an objective evaluation using six different metrics and a subjective study with 202 participants. KEYWORDS Symbolic music generation; automatic melody harmonization; functional harmony 1. Introduction Automatic melody harmonization, a sub-task of automatic music generation (Fern´andez& Vico, 2013), refers to the task of creating computational models that can generate a harmonic accompaniment for a given melody (Chuan & Chew, 2007; Simon, Morris, & Basu, 2008). Here, the term harmony, or harmonization, is used to refer to chordal accompaniment, where an accompaniment is defined relative to the melody as the supporting section of the music. Figure 1 illustrates the inputs and outputs for a melody harmonization model.
    [Show full text]