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Riemann's Functional Framework for Extended Jazz Harmony James
Riemann’s Functional Framework for Extended Jazz Harmony James McGowan The I or tonic chord is the only chord which gives the feeling of complete rest or relaxation. Since the I chord acts as the point of rest there is generated in the other chords a feeling of tension or restlessness. The other chords therefore must 1 eventually return to the tonic chord if a feeling of relaxation is desired. Invoking several musical metaphors, Ricigliano’s comment could apply equally well to the tension and release of any tonal music, not only jazz. Indeed, such metaphors serve as essential points of departure for some extended treatises in music theory.2 Andrew Jaffe further associates “tonic,” “stability,” and “consonance,” when he states: “Two terms used to refer to the extremes of harmonic stability and instability within an individual chord or a chord progression are dissonance and consonance.”3 One should acknowledge, however, that to the non-jazz reader, reference to “tonic chord” implicitly means triad. This is not the case for Ricigliano, Jaffe, or numerous other writers of pedagogical jazz theory.4 Rather, in complete indifference to, ignorance of, or reaction against the common-practice principle that only triads or 1 Ricigliano 1967, 21. 2 A prime example, Berry applies the metaphor of “motion” to explore “Formal processes and element-actions of growth and decline” within different musical domains, in diverse stylistic contexts. Berry 1976, 6 (also see 111–2). An important precedent for Berry’s work in the metaphoric dynamism of harmony and other parameters is found in the writings of Kurth – particularly in his conceptions of “sensuous” and “energetic” harmony. -
Byzantine Music Theory for Western
Moderato a 4 J k kk 64 j k k dkk k 4 j j j j jk k k k j J Ôáéò ðñåó- âåß - áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. a k k 64 jj k dk k kk kjk j k k 4 jj k k jizk j j Ôáéò ðñåó- âåß- áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. Understanding the Byzantine Musical System Using Western Notation and Theory or Name That Tone! by Stanley Takis Most Greek Orthodox church musicians have seen references to “tones” and “modes” in liturgical texts and choir music. But many ask the question, “What are they?” How do you recognize one tone from another? What exactly is a mode? Are modes and tones the same thing? Why do chanters use those squiggly lines while choirs use “real” music? This article provides some observations and information to help “tone-deaf” or “non-mode- ivated” persons understand more of the Byzantine musical system which has been part of Orthodox hymnology from the earliest days. During the first centuries of the Church, our music was greatly influenced by the religious music of the synagogue and the secular music of the Syrians and the Greeks. This ancient music contained a multitude of scales and styles. It was St. John of Damascus who codified a system of eight musical styles, selected because they were not too theatrical or worldly and they helped create a prayerful attitude in the faithful. This system is called the octoechos (eight tones). -
Middle Eastern Music and Dance Since the Nightclub Era
W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 10-30-2005 Middle Eastern Music and Dance since the Nightclub Era Anne K. Rasmussen William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Ethnomusicology Commons Recommended Citation Rasmussen, A. K. (2005). Middle Eastern Music and Dance since the Nightclub Era. Anthony Shay and Barbara Sellers-Young (Ed.), Belly Dance: Orientalism, Transnationalism, And Harem Fantasy (pp. 172-206). Mazda Publishers. https://scholarworks.wm.edu/asbookchapters/102 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. B E L L .v C)ri enta ·l•i S.:I_I_ Transnationalism & Harem Fantasy FFuncling�orthe publication ofthis v\olume w\ as pro\Iv idcd in part by a grant from ✓ Ther Iranic a Institute, Irv\i ine California and b)y TThe C A. K. Jabbari Trust Fund Mazda Publisher• s Academic Publishers P.O. Box 2603 Co st a Mesa, CCa lifornia 92626 Us .S. A . \\ ww.mazdapub.com Copyright © 2005 by Anthony Shay and Barbara Sellers-Young All rights resserved. ' No parts of this publication may be reproduced or transmitted by any form or by any means without written permission from the publisher except in the case of brief quotations embodied in critical articles and re iews. Library of Congress Cataloging-in-Publication Data Belly Dance: Orientalism. -
Accelerated Piano Technique and Music Theory Ii Course Syllabus
ACCELERATED PIANO TECHNIQUE AND MUSIC THEORY II COURSE SYLLABUS Course: Accelerated Piano Technique and Music Theory II Credit: One Carnegie Unit Course Description Accelerated Piano Technique and Music Theory II is required for graduation as a vocal music major. It is for students who have completed the requirements of Accelerated Piano Technique and Music Theory I and completes the prerequisite for all other theory classes. It satisfies the Piano Lab II requirement for vocal majors and the Music Theory II requirement for both vocal and instrumental majors. This course covers the rudiments of music theory and emphasizes basic musicianship skills in the areas of sight singing, ear training, and dictation. Basic piano fundamentals are explored: familiarization with keyboard theory, hand coordination, grand staff note reading, and an introduction to the standard intermediate piano literature. Content Standards DCPS music content standards make up the core skills, concepts and knowledge for Music Theory II: 1. Perform a variety of repertoire. 2. Improvise, compose, and arrange. 3. Read and notate music. 4. Listen, analyze, and evaluate. These standards are incorporated in the course outline below. Course Outline 1. Perform all tasks covered in Accelerated Piano Technique and Music Theory I, with emphasis on reading and writing fluently in treble and bass clefs including identification, notation, reading and writing of all leger line notes above and below the staff. 2. Identify and write all major and minor key signatures; explain and construct a diagram of the circle of fifths. 3. Identify on the page and by ear, sing*, write, and play on the piano keyboard: a. -
Promtional Sample Pages
The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright © 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction .......................................................................................................5 Chapter 1 The Simple Intervals .............................................................6 Chapter 2 The Major Keys .......................................................................13 Chapter 3 The Fundamental Triads .....................................................19 Chapter 4 Triads of the Major Scale .................................................... 27 Chapter 5 Extending the Triads with a 7th or 6th ........................... 32 Chapter 6 Extending the Triads of the Major Scale ...................... 39 Chapter 7 The 12-Bar Blues ...................................................................43 Chapter 8 Voice Leading ...........................................................................45 Chapter 9 Song Melody and the Blueprint .......................................51 Chapter 10 The Major II-V-I Progression ............................................54 Chapter 11 Compound Intervals .............................................................64 Chapter 12 Extending a Chord with a 9th, 11th or 13th ................68 Chapter 13 Modes or the Major Scale...................................................74 Chapter 14 Auxiliary Notes ........................................................................ 87 -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career. -
Level 3 Scale Reference Sheet MP: 4 Scales – 2 Major and 2 Harmonic Minor
Level 3 Scale Reference Sheet MP: 4 scales – 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands separate or together) 3. Play chord progression (of the scale you just played): (or I-V-I) (Hands separate or together) 4. Play arpeggio (of the scale you just played): 5. Applied Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th in the keys of prepared scales up from tonic only, using appropriate black keys www.wendyspianostudio.com 76 Level 3 SCALE CHECKLIST C Major a minor G Major e minor D Major b minor A Major f# minor # E Major c minor # B Major g minor Gb Major eb minor Db Major bb minor Ab Major f minor Eb Major c minor b B Major g minor F Major d minor 77 Level 4 Scale Reference Sheet MP: 4 keys – 2 major and 2 minor (natural and harmonic minor forms) 1. Play Scale (One octave, hands separate or together) 2. Play Primary Chords in Root position (for the scale you just played), hands separate or together. For minor keys, use harmonic form. 3. Play inversions of the tonic triad up and down, hands separate or together: 4. Play chord Progression: (or I-IV-I-V-I) hands separate or together. In minor keys, use harmonic form. 5. Play 1 handed arpeggio: www.wendyspianostudio.com 78 Level Four, continued 6. Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th, 7th, and octave, in the keys of prepared scales, up only, beginning on any pitch in the scale. -
A Case Study of Aram Khachaturian Brigitta Davidjants
National Identity Construction in Music: A Case Study of Aram Khachaturian Brigitta Davidjants Abstract In this paper, the national element in the reception of the Soviet-Armenian composer Aram Khachatu- rian (1903–1978) is explored. Armenian culture has been profoundly infl uenced by the cultural politics of the Russian Empire and the Soviet Union, both of which perceived the Caucasus as an exotic object. Armenians have been used to seeing Russia as a window to Europe. Therefore they also conceive them- selves as an exotic “other.” Music is an element of such self-representation and can be used for national identity constructions. In this paper, the author illustrates these processes by analysing the reception of Aram Khachaturian, who belongs to the Armenian system of national symbols. He is considered to be a specifi cally Armenian, European and Oriental composer at one and the same time. The author suggests that descriptions of his music in Armenian musicological discourse serve the wider ideological aims of Armenian cultural identity constructions in its history writing, which are characterised by a cultural ambivalence that wishes to prove that Armenians belong culturally to Europe but also presents them as exotic subjects. Introduction ity to the supposed expectations of the (Western) audience. In the present paper, national identity construc- As far as the context is concerned, the socio- tions in Armenian musicological discourse are historical background of Aram Khachaturian is observed through the musicological reception of best understood in terms of Armenian cultural the composer Aram Khachaturian (1903–1978) as relations with Russia during the two political re- well as in his writings. -
Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox. -
John C. Thibdeau
5 WEDGEWOOD LANE VOORHEESVILLE, NY 12186 PHONE (518) 491 0616• [email protected] JOHN C. THIBDEAU EDUCATION Present (2018) Ph.D. Candidate in Religious Studies, University of California, Santa Barbara Exams: Sufism; Islamic Law & Government; Cognition, Culture & Music 2012 M.A. in Religious Studies, University of Colorado, Boulder Graduate Certificate in Critical Social Theory Graduate Certificate in Cognitive Science Master's Thesis: Enactive Cognitive Science and the Study of Religious Traditions 2007 B.S. in Philosophy, Rensselaer Polytechnic Institute Minor in Physics AREAS OF RESEARCH INTEREST Sufism in Morocco; Contemporary Middle Eastern Social and Religious Movements; Religious Community, Practice and Experience; Cognitive Science & Ritual; Anthropology of Religion; Anthropology & Ethics ACADEMIC EXPERIENCE Spring 2015 Teaching Assistant, Dept. of Religious Studies, University of California, Santa Barbara Modern Iran Winter 2015 Teaching Assistant, Dept. of Religious Studies, University of California, Santa Barbara Religious Approaches to Death Fall 2014 Teaching Assistant, Dept. of Religious Studies, University of California, Santa Barbara Arabic 1 Fall 2011 – Fall 2012, Graduate Assistant, Dept. of Religious Studies, University of Colorado, Boulder Summer 2013 Dancing, Culture, Religion Spring 2013 Graduate Assistant, Dept. of Religious Studies, University of Colorado, Boulder Religion and the Senses Spring 2011 Teaching Assistant, Dept. of Religious Studies, University of Colorado, Boulder Native American Religious Traditions -
CMS-Southern Chapter/SCSMT Joint Conference
CMS-Southern Chapter/SCSMT Joint Conference February 28 – March 1, 2020 Blair School of Music Vanderbilt University Nashville, Tennessee A Message from the CMS Southern Chapter President Welcome to the 41st Annual Conference of the CMS Southern Chapter! We are back together after a very successful 40th anniversary meeting last year at the University of Central Florida in Orlando. It was a fantastic event and moment of reflection for many who have been involved in the Southern Chapter over the years. This year we are excited to be in Nashville, Tennessee. All conference activities will take place at the Blair School of Music, Vanderbilt University. We extend our gratitude to the Blair School of Music for hosting our many performances, demonstrations, papers, posters, and concerts. We are also incredibly thankful to our hosts from Belmont University, Kristian Klefstad and Mark Volker. We appreciate your dedication to the chapter and work to organize a conference with so many moving parts and scheduling challenges. Thank you! This year’s conference is held jointly with the annual meeting of the South Central Society of Music Theory. We hope that attendees from CMS and SCSMT learn from each other and connect to form new friendships, opportunities, and dialogues. We welcome our friends from SCSMT! This year’s conference theme is “Improvisation: Science, Practice, and Pedagogy.” Our program features many excellent sessions and performances that center on this topic. We are excited to welcome four guest speakers to our conference: Martin Norgaard, Dennis Thurmond, Dariusz Terefenko, and Andrew Goldman. We are certain you will enjoy all of these sessions and workshops with our esteemed guests.