Sound in Action: Modality and Technique in Guitar Improvisation of Joe Satriani and Steve Vai
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Heuristic Musicians Guide to Understanding Musical Composition and Improvisation for Guitar and Keyboard Immediately Applied Music Theory
Page 1 of 339 Heuristic Musicians Guide to understanding musical composition and improvisation For guitar and keyboard Immediately Applied Music Theory Where most guides and teachers offer you mere maps We offer you an intimate understanding of the terrain From muddling to Mozart? From bumbling to Bach? From zero to hero? In as long as it takes you * *But much faster than you otherwise would have gotten there! Copyright 2018 Markus Heinrich Rehbach and TROONATNOOR All Rights Reserved Page 2 of 339 Contents Where most guides and teachers offer you mere maps ........................... 1 We offer you an intimate understanding of the terrain........................... 1 Contents ................................................................................................... 2 Introduction ............................................................................................. 9 The map is not the terrain ...................................................................... 14 Your personal musical evolution ........................................................... 18 The best place to start learning guitar is with a piano keyboard .................................. 25 What precisely the term ‘Interval’ refers to .......................................... 26 The Chromatic Scale ............................................................................. 30 Scales and Intervals ............................................................................... 35 Minor Scales and Modes ...................................................................... -
A Comparison of Free Jazz to 20Th-Century Classical Music 09.10.11 23.07
A Comparison of Free Jazz to 20th-Century Classical Music 09.10.11 23.07 A Comparison of Free Jazz to 20th-Century Classical Music similar precepts and musical innovations by © john a. maurer iv February 24, 1998 Table of Contents: Introduction Main Body 1. Abandoning functional tonality 2. New means of expression 3. Formal structures 4. Asymmetry and disjunctedness 5. The use of parody Closing References Introduction The term "free jazz"—coined in 1964 from an Ornette Coleman recording to describe the "new thing" developing in jazz at that time—is even today little understood by jazz musicians and the music community at large. This may be due in large part to the fact that jazz, in general, is very often slighted as lacking in intellectual depth and does not usually receive the same critical analysis granted to the more "serious" art forms. It may also be due to the fact, of course, that improvisation—one of the foundations of jazz—defies traditional analysis in that it is not written out and that not too many scholars are willing to make the extra effort to transcribe music where necessary and to tackle the difficulties inherent in analyzing music based solely on recordings. At the same time, jazz musicians and jazz critics themselves pay little attention to free jazz, as most do not approve of its untraditional techniques to this day and would rather have it not considered jazz at all; rather, they see it as the anti-jazz (Jost 31). Everything that the traditional jazz musician has practiced years to accomplish and prides himself on, afterall—improvising over chord changes and crafting harmonic complexity, etc. -
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea -
Popular Music Analysis
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2001 Popular music analysis Ross, Gordon Ross, G. (2001). Popular music analysis (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/15654 http://hdl.handle.net/1880/40925 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Popular Music Analysis by Gordon Ross A THESIS SUBMITI'ED TO TEE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSICOLOGY DEPARTMENT OF MUSIC CALGARY, ALBERTA AUGUST, 2001 Gordon Rosa, 2001 National Library 8iblioWque nationale ofCanada du Canada uisitions and Acquisitions et Services services bibliiraphiques 385weaingulsImt 305. rue WMigton OthwaON K1AON4 OttawaON KlAW CaMdo Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive pennettant a la National Library of Can& to Bibliothbque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of this thesis in microform, vendre des copies de cette these SOW paper or electronic fonnats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. -
Modal Adverbs in English and Polish a Functional
Agata Rozumko MODAL ADVERBS IN ENGLISH AND POLISH A FUNCTIONAL PERSPECTIVE Agata Rozumko MODAL ADVERBS IN ENGLISH AND POLISH A FUNCTIONAL PERSPECTIVE Białystok 2019 Reviewers: dr hab. Ewa Willim (UJ) Table of content dr hab. Krystyna Warchał (UŚ) Graphic design: Acknowledgements 15 Paweł Łuszyński 1. INTRODUCTION Editing: 1.1. Motivation for writing this book 17 Peter Foulds 1.2. Anglophone and Polish research into modality– a brief introduction 19 Proofreading: 1.3. Modality and the socio-cultural context 22 Peter Foulds 1.4. Aims and methodology 23 1.5. The material 27 Technical editing and typesetting: 1.6. The problem of equivalence 30 Zbigniew Łaszcz 1.7. Outline of the book 31 2. DEFINING MODALITY. RESEARCH ON MODALITY IN ANGLOPHONE AND POLISH LINGUISTICS © Copyright by Uniwersytet w Białymstoku, Białystok 2019 2.1. Introduction 33 2.2. Defining modality 35 2.3. Types of modality distinguished in Anglophone studies 36 This project is financed from the grant received from the Polish Ministry of 2.3.1. Epistemic modality and evidentiality 36 Science and Higher Education under the Regional Initiative of Excellence pro- 2.3.1.1. The notion of evidence and its types 44 gramme for the years 2019-2022; project number 009/RID/2018/19, the amount 2.3.1.2. Epistemic modality, evidentiality, and discourse 47 of funding: PLN 10 947.15. It has also received financial support from the Polish 2.3.2. Non-epistemic modality 49 Ministry of Science and Higher Education under subsidy for maintaining the research potential of the Faculty of Philology, University of Białystok. -
The Meaning of the Modal Framework in the Singing of Religious Hymns by Christian Arabs in Israel
Catalog TOC <<Page>> THE MEANING OF THE MODAL FRAMEWORK IN THE SINGING OF RELIGIOUS HYMNS BY CHRISTIAN ARABS IN ISRAEL Dahliah Cohen, Jerusalem By the term "modal framework" we mean the accepted framework in which a certain musical repertoire is organized, as for instance, the Maqdmdt in Arab music or the Raga in Indian. Modal frameworks are currently considered to be melodic types1, but no exact deifnition exists of these melodic types. Even the various theories2 do not present a precise determination of the modal framework and this is even more markedly lacking in performance practice.3 There are many factors that may be considered in attempting a deifnition of this framework. They can be divided into four areas. A. Elements of musical structure, which may include: 1. The scale (a) In the conventional meaning. (b) Considered in its system of intonation; that is, the precise pitch of tones and the exact relations between them. (The intonation is occasionally com plicated but it is important in characterizing most nonWesternized music.) J See, for example, the entries "Melodytype" or "Echos", in Willy Apel, Harvard Die tionaryofMusic, London, (1955), pp. 225, 438. 2 For example, the theory of Maqamat as it was most systematically formulated by the learned theoretician Safi alDin in the thirteenth century suggests that the maqamat is not only a scale but is rather a framework determined by both the melody and the rhythm. (He calls this framework (ariqa that is, "the way"). However, he considers the scale and the rhythm separately and the connection between them is not clear (see H. -
Music Theory Contents
Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................ -
Music of a Thousand Years a New History of Persian Musical Traditions
Music of a Thousand A NEW HISTORY OF PERSIAN Years MUSICAL TRADITIONS ANN E. LUCAS Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Joan Palevsky Imprint in Classical Literature. Music of a Thousand Years Music of a Thousand Years A New History of Persian Musical Traditions Ann E. Lucas UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Ann E. Lucas This work is licensed under a Creative Commons CC BY-NC license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Lucas, A. E. Music of a Thousand Years A New History of Persian Musical Traditions. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.78 Library of Congress Cataloging-in-Publication Data Names: Lucas, Ann E., 1978- author. -
Tonality Estimation in Electronic Dance Music a Computational and Musically Informed Examination
Tonality Estimation in Electronic Dance Music A Computational and Musically Informed Examination Ángel Faraldo Pérez TESI DOCTORAL UPF / 2017 Thesis Directors: Dr. Sergi Jordà Puig Music Technology Group Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfilment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Ángel Faraldo Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. The doctoral defence was held on ......................... at the Universitat Pompeu Fabra and scored as ........................................................... Dr. Sergi Jordà Puig (Thesis Supervisor) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Agustín Martorell Domínguez (Thesis Committee Member) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gianni Ginesi (Thesis Committee Member) Escola Superior de Musica de Catalunya (ESMUC), Barcelona, Spain Dr. Anja Volk (Thesis Committee Member) Universiteit Utrecht, The Netherlands This thesis has been carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from January 2014 to November 2017, supervised by Dr. Sergi Jordà Puig and Prof. Perfecto Herrera Boyer. My work has been supported by the Department of Information and Communication Technologies (DTIC) PhD fellowship (2015-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s 7th Framework Program, as part of the GiantSteps project (FP7-ICT-2013-10, grant agreement 610591). -
An Integrated Framework for Transcription, Modal and Motivic Analyses of Maqam Improvisation
Proc. of the 2nd CompMusic Workshop (Istanbul, Turkey, July 12-13, 2012) AN INTEGRATED FRAMEWORK FOR TRANSCRIPTION, MODAL AND MOTIVIC ANALYSES OF MAQAM IMPROVISATION Olivier Lartillot Mondher Ayari Swiss Center for Affective Sciences, University of Geneva University of Strasbourg & Ircam-CNRS [email protected] [email protected] ABSTRACT underlying modal structure has rarely been studied in a computational framework; the absence of a clear metrical The CréMusCult project is dedicated to the study of pulsation complicate the rhythmic transcription1. oral/aural creativity in Mediterranean traditional cultures, and especially in Maqam music. Through a dialogue The long-term aim of the project is to develop a computa- between anthropological survey, musical analysis and tional model that is not focused on one single piece, or cognitive modeling, one main objective is to bring to one particular style of modal music, such as this Tunisian light the psychological processes and interactive levels of traditional Istikhbar improvisation, but that is generalized cognitive processing underlying the perception of modal to the study of a large range of music, Arabo-Andalusian structures in Maqam improvisations. maqam but also Turkish makam for instance. One current axis of research in this project is dedicated to 2. BOTTOM-UP ANALYSIS the design of a comprehensive modeling of the analysis of maqam music founded on a complex interaction be- The aim of music transcription is to extract elementary tween progressive bottom-up processes of transcription, musical events (such as notes) from the raw audio signal, modal analysis and motivic analysis and the impact of and to characterize these events with respect to their top-down influence of higher-level information on lower- temporal locations and durations in the signal, their pitch level inferences. -
Eruptions: Heavy Metal Appropriations of Classical Virtuosity Author(S): Robert Walser Source: Popular Music, Vol
Eruptions: Heavy Metal Appropriations of Classical Virtuosity Author(s): Robert Walser Source: Popular Music, Vol. 11, No. 3 (Oct., 1992), pp. 263-308 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/931311 Accessed: 25/01/2009 13:26 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular Music. http://www.jstor.org PopularMusic (1992) Volume -
MCDSARE: 2018 International Multidisciplinary Scientific Conference on the Dialogue Between Sciences & Arts, Religion &
International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education MCDSARE 2018 / e ISSN: 2601-8403 © 2018 Published by IFIASA http://ifiasa.org/en/ Ideas Forum International Academic and Scientific Association https://doi.org/10.26520/mcdsare.2018.2.286-298 MCDSARE: 2018 International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education THE AUGMENTED TONALITY IN THE FIRST HALF OF THE 20TH CENTURY MUSIC Gabriel Bulancea (a)* (a) Professor, University ”Dunărea de Jos”, Domnească Street no. 47, Galați, Romania, [email protected] Abstract The appeal to the tonality from the first half of the 20th century occurs in the cultural areas where the contact with the tradition is tighter and there is no stress on the originality of the artistic expression, originality that in the Eastern European music tends to substitute the artistic through the underestimation or deconstruction of the already existing musical languages. On the contrary, the Russian musical culture is open to any formula that would enrich the sonorous universe, admitting in the area of the tonality systems certain sonorous organization specific to ethnic traditions or even more, European ones. In this way the tonality is not removed, nor is it only just surviving in this context. It undertakes mixtures, incisions, grafting, allusions, thus generating an ethos of a particular specificity. Keywords: augmented tonality; musical language; sonorous organization; 1. INTRODUCTION The augmented tonality represents a conquest of the romanticism, of the post-romanticism, of national cultures, of the Vienna school and of the neoclassicism, etc. gaining more and more space in the sensitivity of the composers of the end of the 19th century and especially of those from the first half of the 20th century.