Appendix 2: the Motive
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Music 231 Motive
Music 231 Motive New Material • Motive content • Motive writing Motive (motif) A motive (sometimes referred to in the French: motif) is a melodic fragment that is repeated or varied to form a full melody, theme, or phrase. Motives are established by continued use; a group of notes that is not repeated is not a motive. The end of a motive is marked by either 1) its immediate repetition, 2) a rest, or 3) contrasting material. Usually, the repetition of a motive immediately follows its first appearance. Occasionally, contrasting material may forestall the repetition—but the motive will always be heard again at a later point in time. Germ Sometimes a longer motive can be heard as the summary of two or three smaller ideas. Each of these would be called a germ. Good motives have a distinctive profile created by simple, memorable rhythms and a few melodic intervals. Motive Examples Melodic and rhythmic elements tend to be balanced in common practice motives. However, if a motive is meant to be primarily rhythmic, it may have little melodic curve. Primarily Rhythmic Motives If a motive has a particularly interesting interval, the rhythmic profile might be less memorable. Primarily Melodic Motives Harmony can play a significant role in emphasizing a particular interval. Note the way the minor-to-major harmony supports the melodic half step in the following example. Melodic-Harmonic Motive Most good motives, though, have an interesting rhythm and a unique melodic feature. Melodic-Rhythmic Motive Length and Meter Examining the length of the motives above will show that motives tend to be a few beats to a few bars. -
What Makes a Good Song? Exploring Popular Songs A
SECOND ARY/KEY STAGE 3 MUSI C – WHAT MAKES A GOOD SONG? K NOWLEDGE ORGANISER What Makes a Good Song? Exploring Popular Songs A. Form and Structure in Pop Songs B. Typical Pop Song Structure C. Key Words FORM AND STRUCTURE – the different sections MELODY – The main tune of a popular song, often sung by the LEAD SINGER or sometimes of a piece of music or song and how they are INTRO played on instruments within the band e.g. LEAD GUITAR. A melody can move by STEP ordered. using notes that are next to or close to one another this is called CONJUNCT MOTION, or a INTRO – The introduction sets the mood of a VERSE 1 melody can move by LEAPS using notes that are further apart from one another which is song. It is often instrumental but can called DISJUNCT MOTION. The distance between the lowest pitched and highest pitched note in a melody is called the MELODIC RANGE. occasionally start with lyrics. VERSE 2 CHORD – A group of two or more pitched notes played at the same time. VERSES – Verses introduce the song theme. They CHORUS BASS LINE – The lowest pitched part of a song, often performed by bass instruments such are usually new lyrics for each verse which helps as the BASS GUITAR. The bass line provides the harmonies on which the chords are to develop the song’s narrative, but the melody is VERSE 3 constructed. the same in all verses. ACCOMPANIMENT – Music that accompanies either a lead singer or melody line – often PRE-CHORUS - A section of music that occurs CHORUS known as the “backing” – provided by a band or BACKING SINGERS. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set). -
Melody Track Identification in Music Symbolic Files
Melody Track Identification in Music Symbolic Files David Rizo, Pedro J. Ponce de Leon,´ Antonio Pertusa, Carlos Perez-Sancho,´ Jose´ M. Inesta˜ Departamento de Lenguajes y Sistemas Inform´aticos Universidad de Alicante, Spain {drizo,pierre,pertusa,cperez,inesta}@dlsi.ua.es http://grfia.dlsi.ua.es Abstract extraction front-endis needed to be changed for dealing with other formats. Standard MIDI files contain data that can be considered as a symbolic representation of music (a digital score), The identification of the melodic track is very useful for and most of them are structured as a number of tracks, a number of applications. For example, melody match- one of them usually containing the melodic line of the ing when searching in MIDI databases, both in symbolic piece, while the other tracks contain the accompani- format (Uitdenbogerd & Zobel 1999) and in audio for- ment. The objective of this work is to identify the track mat (Ghias et al. 1995) (in this case, this problem is ofter containing the melody using statistical properties of the named ‘query by humming’, and the first stage is often an notes and pattern recognition techniques. Finding that identification of the notes in the sound query). In all these track is very useful for a number of applications, like cases, search queries are always a small part of the melody melody matching when searching in MIDI databases and it should be clearly identified in the database files to per- or motif extraction, among others. First, a set of de- form melodic comparisons. Other application can be motif scriptors from each track of the target file are extracted. -
Motivic Development.Mus
Motivic Development Motive Basics - A motive is the smallest recognizable musical idea * Repetition of motives is what lends coherence to a melody - A figure is not considered to be motivic unless it is repeated in some way. - A motive can feature rhythmic elements and/or pitch or interval elements - Any of the characteristic features of a motive can be varied in its repetitions (including pitch and rhythm). * Motives are typically labeled with lowercase letters starting at the end of the alphabet (i.e. z, y, x, w) Motive z # 4 œ & 4 œ œ œ œ œ œ Motivic Development Techniques - repetition: restatement of a motive at the same pitch level * repetition can feature a change of mode (i.e. major to minor) at the same pitch level Repetition Repetition (change of mode) # & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ - transposition: restatement of a motive at a new pitch level * exact (chromatic) transposition: intervals retain the same quality and size * tonal (diatonic) transposition: intervals retain the same size, but not necessarily same quality * sequence: transposition by the same distance several times in a row - exact: intervals retain same quality and size - tonal: intervals retain the same size, but not necessarily same quality - modified: contains some modifications to interval size to fit within a given harmonic structure - modulating: a sequence which functions to transition the piece into a new key Tonal Transposition Exact Transposition # œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ Tonal Sequence # œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ - variation: elaboration or simplification by adding or removing passing tones, neighbor tones, etc. -
Melody and Accompaniment Articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg
P Tagg: 1 Melody and Accompaniment articles for EPMOW (Encyclopedia of Popular Music of the World) by Philip Tagg Contents melody 2 Defining parameters 2 General characteristics of popular melody 2 Metaphorical nomenclature 3 Typologies of melody 4 Structural typologies 4 Pitch contour 4 Tonal vocabulary 7 Dynamics and mode of articulation 8 Rhythmic profile 8 Body and melodic rhythm 9 Language and melodic rhythm 9 Culturally specific melodic formulae 10 Patterns of recurrence 12 Connotative typologies 15 accompaniment 17 Bibliography 20 Musical references 22 P Tagg: melody Defining parameters 2 melody From the two Ancient Greek words mélos (m°low = a song, or the music to which a song is set) and ode (”dÆ = ode, song, poem), the English word melody seems to have three main meanings: [1] a monodic tonal sequence, accompanied or unaccom- panied, perceived as a musical statement with distinct rhythmic profile and pitch contour; [2] the monodic musical foreground to which ACCOMPANIMENT (see p.17 ff.) and HARMONY (see Tagg’s Harmony Handout) are, at least within most popular music traditions of Europe and the Americas, understood as providing the back- ground; [3] all such monodic tonal sequences and/or aspects of musical foreground within one complete song (e.g. ‘Auld Lang Syne is a popular Scottish melody’). It should be noted in the latter case that mélodie, Melodie, melodia, melodi (French, German, Latin and Scandinavian languages respectively) can in popular parlance sometimes denote the entirety of any TUNE or SONG (including lyrics and accompa- niment) in which melody, defined according to [1] and [2] above, is a prominent fea- ture. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Singing Transcription from Polyphonic Music Using Melody Contour Filtering
applied sciences Article Singing Transcription from Polyphonic Music Using Melody Contour Filtering Zhuang He and Yin Feng * Department of Artificial Intelligence, Xiamen University, Xiamen 361000, China; [email protected] * Correspondence: [email protected] Abstract: Automatic singing transcription and analysis from polyphonic music records are essential in a number of indexing techniques for computational auditory scenes. To obtain a note-level sequence in this work, we divide the singing transcription task into two subtasks: melody extraction and note transcription. We construct a salience function in terms of harmonic and rhythmic similarity and a measurement of spectral balance. Central to our proposed method is the measurement of melody contours, which are calculated using edge searching based on their continuity properties. We calculate the mean contour salience by separating melody analysis from the adjacent breakpoint connective strength matrix, and we select the final melody contour to determine MIDI notes. This unique method, combining audio signals with image edge analysis, provides a more interpretable analysis platform for continuous singing signals. Experimental analysis using Music Information Retrieval Evaluation Exchange (MIREX) datasets shows that our technique achieves promising results both for audio melody extraction and polyphonic singing transcription. Keywords: singing transcription; audio signal analysis; melody contour; audio melody extraction; music information retrieval Citation: He, Z.; Feng, Y. Singing Transcription from Polyphonic Music 1. Introduction Using Melody Contour Filtering. The task of singing transcription from polyphonic music has always been worthy Appl. Sci. 2021, 11, 5913. https:// of research, and it represents one of the most difficult challenges when analyzing audio doi.org/10.3390/app11135913 information and retrieving music content. -
The Diminution of the Classical Column: Visual Sensibility In
David A. Vila The Diminution of the Classical Column: Domini Visual Sensibility in Antiquity and the Renaissance David Vila Domini looks at the recommendations regarding optical adjustment of the columnar diminution in the architectural treatises of Vitruvius, Alberti, and Palladio. He examines the variation in diminution of column thickness according to the height of the column, and its implications for our understanding of the various practices with regard both to columnar proportion and visual sensibility in Antiquity and the Renaissance. He also examines possible sources for the methods by which the ratios of column height to diameter were derived. Introduction 1 Writing some time around the 1450s [Grayson 1960], Alberti composed his ten-book treatise on architecture De re aedificatoria, basing it largely on the ancient Roman tract De architectura [Krautheimer 1963], which its author, Vitruvius, dedicated to the emperor Augustus. Alberti and his contemporaries found Vitruvius’s text inelegantly written, often obscure and in some passages entirely unintelligible.2 The widespread use of Greek terms for things that were otherwise nameless in Augustan Latin confounded the efforts of the humanists trying to make sense of the only text on architecture that had survived from the antiquity they had so much come to admire. In his attempt to remedy these linguistic problems, Alberti was forced to introduce neologisms in order to express ideas for which, until then, there were no words in Latin.3 But the difficulties were by no means exclusively linguistic, and constitute an indication of the very different understanding that Roman Antiquity and the Early Renaissance had of architecture. -
Music 231 Motive Development Techniques, Part 1
Music 231 Motive Development Techniques, part 1 New Material Fourteen motive development techniques: Part 1 (this document) Part 2 * repetition * compression * sequence * inversion * interval change * interversion * rhythm change * diminution * fragmentation * augmentation * extension * ornamentation * expansion * thinning Techniques of motive development are numerous, ranging from simple repetition to complex combinations of variations. We will examine fourteen basic techniques and analyze examples using them individually and in combination. As part of the definition of each variation type, note that some techniques change the length of the motive, while others do not. Repetition Repetition is the simplest and one of the most prevalent kinds of motive development. Repetition is usually immediate, but may be preceded by intervening material. [motive length: same as original] Sequence The motive is repeated at another pitch level. In most common-practice music, the motive is transposed tonally, i.e. without chromatic alterations. The result is that intervals may change quality (but not number). [motive length: same as original] In the Beethoven example below, the motive's opening major third becomes a minor third in the sequences that follow. Similarly, the interval between the third and fourth notes is a major second in the motive and first sequence, but a minor second in the final sequence. The example from Scheherazade is a literal sequence; every tone has been transposed a major second (sometimes written as a diminished third) higher. Interval change The most common interval change occurs at the end of a otherwise literal motive repetition. But they can also occur anywhere in a motive and include one or several intervals. -
The Thirteenth Amendment and Environmental Justice
19 NEV. L.J. 509, KONAR-STEENBERG 4/8/2019 6:48 PM ROOT AND BRANCH: THE THIRTEENTH AMENDMENT AND ENVIRONMENTAL JUSTICE Mehmet K. Konar-Steenberg* “[The Thirteenth Amendment] abolishes slavery . root and branch. It abol- ishes it in the general and the particular. Any other interpretation belittles the great amendment and allows slavery still to linger among us in some of its insufferable pretensions.”1 TABLE OF CONTENTS INTRODUCTION ............................................................................................... 510 I. ENVIRONMENTAL JUSTICE AND TRADITIONAL ENVIRONMENTAL LAW: SUBSTANCE VERSUS FORM ....................................................... 513 II. ENVIRONMENTAL JUSTICE AND THE DISPARATE IMPACT PROBLEM .. 514 III. ENVIRONMENTAL JUSTICE AND THE FEDERALISM PROBLEM ............. 517 A. Fourteenth Amendment Equal Protection and Federalism: City of Boerne ............................................................................. 518 B. The Commerce Clause and Federalism: Lopez, Morrison, and Raich ........................................................................................... 520 IV. THE THIRTEENTH AMENDMENT AND PROSPECTS FOR ACHIEVING ENVIRONMENTAL JUSTICE .................................................................. 524 A. The Thirteenth Amendment and Disparate Impact ..................... 524 1. Supreme Court Precedent Does Not Impose an Intent Requirement for Thirteenth Amendment Claims. .................. 524 2. The Thirteenth Amendment Should Not Include an Intent Requirement. ........................................................................