Component 1 Appraising Music
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Automated Analysis and Transcription of Rhythm Data and Their Use for Composition
Automated Analysis and Transcription of Rhythm Data and their Use for Composition submitted by Georg Boenn for the degree of Doctor of Philosophy of the University of Bath Department of Computer Science February 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with its author. This thesis may not be consulted, photocopied or lent to other libraries without the permission of the author for 3 years from the date of acceptance of the thesis. Signature of Author . .................................. Georg Boenn To Daiva, the love of my life. 1 Contents 1 Introduction 17 1.1 Musical Time and the Problem of Musical Form . 17 1.2 Context of Research and Research Questions . 18 1.3 Previous Publications . 24 1.4 Contributions..................................... 25 1.5 Outline of the Thesis . 27 2 Background and Related Work 28 2.1 Introduction...................................... 28 2.2 Representations of Musical Rhythm . 29 2.2.1 Notation of Rhythm and Metre . 29 2.2.2 The Piano-Roll Notation . 33 2.2.3 Necklace Notation of Rhythm and Metre . 34 2.2.4 Adjacent Interval Spectrum . 36 2.3 Onset Detection . 36 2.3.1 ManualTapping ............................... 36 The times Opcode in Csound . 38 2.3.2 MIDI ..................................... 38 MIDIFiles .................................. 38 MIDIinReal-Time.............................. 40 2.3.3 Onset Data extracted from Audio Signals . 40 2.3.4 Is it sufficient just to know about the onset times? . 41 2.4 Temporal Perception . -
The Haec Dies Gradual the Formulas and the Structure Pitches
68 The Haec dies Gradual The formulas and the structure pitches The primary structure pitches for recitation and accentuation are A (the Final of the mode) and C (the Dominant and a universal structure pitch). Punctuation occurs: 1) on A (the Final); 2) on C (the Dominant and universal structure pitch); 3) on F (the other universal structure pitch) and 4) on D (as a suspended cadence on the fourth above the Final). The first phrase (unique to this gradual): The structure pitches: -cc6côccc8cccc8ccccccccccc6ccccc Haec di- es, The initial structure pitch A is given a great deal of emphasis, both by the large Uncinus in Laon 239 and by the t (tenete = lengthen, hold) in the Cantatorium of St. Gall. It is followed by a rapidly moving ornament that circles the A much like the motion of a softball pitcher, in order to add momentum and intensity to the final A before ascending to C. The ornament ends with an Oriscus on the final A that builds the intensity even further until it reaches the C, the 69 climax of the entire melodic line over the word Haec. The tension continues over the accented syllable of the word di-es by means of the rapid, triple pulsation of the C, the Dominant of the piece. The melody then descends to A (the Final of the piece) and becomes a rapid alternation between A and G that swings forcefully to the last A on that syllable. The A is repeated for the final syllable of the word to produce a simple redundant cadence. -
Singing the Prostopinije Samohlasen Tones in English: a Tutorial
Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
7 October 2016 Page 1 of 11
Radio 3 Listings for 1 – 7 October 2016 Page 1 of 11 SATURDAY 01 OCTOBER 2016 5:37 AM SCHAEFFER: Cinq Études De Bruits Schumann, Robert (1810-1856) STOCKHAUSEN: Studies 1-2; Gesang Der Jünglinge SAT 01:00 Through the Night (b07wrpks) Märchenbilder (Op.113) XENAKIS: Diamorphoses; Concret PH Brahms Symphony Cycle: Symphony No 3 Pinchas Zukerman (viola), Marc Neikrug (piano) VARÈSE: Poème Électronique 5:53 AM HENRY: Voile D©Orphée Jonathan Swain presents a performance from Lugano in Faure, Gabriel [1845-1924] Musique Concrète recorded in the studios of West German Radio Switzerland of Brahms©s Third Symphony and his Double Reflets dans l©eau from Mirages (Op.113) in Cologne and French Radio in Paris Concerto with violinist Alexandra Soumm and cellist Jean- Ronan Collett (baritone), Nicholas Rimmer (piano) Él ACMEM159CD (CD) Guihen Queyras. 5:58 AM 1:01 AM Dohnányi, Ernõ (1877-1960) BRITTEN: War Requiem Op. 66 Brahms, Johannes (1833-1897) Variations on a Nursery Song (Op.25) Galina Vishnevskaya (soprano), Peter Pears (tenor), Dietrich Double Concerto in A minor, Op.102 Arthur Ozolins (piano), Toronto Symphony, Mario Bernardi Fischer-Dieskau (baritone), Simon Preston (organ), London Alexandra Soumm (violin), Jean-Guihen Queyras (cello), (conductor) Symphony Orchestra, Melos Ensemble, London Symphony Orchestra della Svizzera Italiana, Markus Poschner (conductor) 6:23 AM Orchestra Chorus, Highgate School Choir, The Bach Choir, 1:36 AM Bach, Johann Sebastian (1685-1750), orch. Webern, Anton Benjamin Britten (conductor) Brahms, Johannes (1833-1897) -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
Fusión De Rock Y Música Clásica De La India Juan David Orduz Samudio
Bhadrakālī – “Un Periplo de Emociones”: Fusión de Rock y Música Clásica de la India Juan David Orduz Samudio Pontificia Universidad Javeriana Facultad de Artes, Departamento de Música Composición Comercial Bogotá D.C. 2019 Bhadrakālī – “Un Periplo de Emociones”: Fusión de Rock y Música Clásica de la India Juan David Orduz Samudio Asesor: Juan Sebastián Monsalve Castaño Pontificia Universidad Javeriana Facultad de Artes, Departamento de Música Composición Comercial Bogotá D.C. 2019 2 Contenido: 1. Introducción……………………………………………………………………………....5 2. Objetivos…………………………………………………………………….…………....7 2.1. Objetivo general…………………………………...……………….…………....7 2.2. Objetivos específicos……………………………...……………….…………....7 3. Marco teórico……………………………………………………….…………………….8 3.1. Contexto histórico y conceptos básicos de la teoría de la música clásica de la India………...………………………………………………………………………...8 3.2. Artistas de la tradición………...……………………………………………….15 3.3. Artistas de la fusión………...……………………………………………..........16 4. Metodología………...……………………………………………...................................20 5. “Un Periplo de Emociones”: Análisis musical………………………………………..…24 5.1. Alap…………………………………………………………………………….24 5.2. Do Chehare……………………………………………………………………..25 5.3. Introspección…………………………………………………………………...30 5.4. Raga Espinal…………………………………………………………………....34 5.5. Verdadero Trance……………………………………………………………....38 5.6. Bhadrakālī……………………………………………………………………...44 5.7. 18……………………………………………………………………………….51 5.8. Vive Ahora……………………………………………………………………..55 6. Conclusiones…………………………………………………………………………….62 -
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. -
UNIVERSAL MUSIC • Paul Mccartney – New • Mary J Blige – a Mary
Paul McCartney – New Mary J Blige – A Mary Christmas Luciano Pavarotti – The 50 Greatest Tracks New Releases From Classics And Jazz Inside!!! And more… UNI13-42 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: KATY PERRY / PRISM Bar Code: Cat. #: B001921602 Price Code: SPS Order Due: Release Date: October 22, 2013 File: POP Genre Code: 33 Box Lot: 6 02537 53232 2 Key Tracks: ROAR ROAR Artist/Title: KATY PERRY / PRISM (DELUXE) Bar Code: Cat. #: B001921502 Price Code: AV Order Due: October 22, 2013 Release Date: October 22, 2013 6 02537 53233 9 File: POP Genre Code: 33 Box Lot: Key Tracks: ROAR Artist/Title: KATY PERRY / PRISM (VINYL) Bar Code: Cat. #: B001921401 Price Code: FB Order Due: October 22, 2013 Release Date: October 22, 2013 6 02537 53234 6 File: POP Genre Code: 33 Box Lot: Key Tracks: Vinyl is one way sale ROAR Project Overview: With global sales of over 10 million albums and 71 million digital singles, Katy Perry returns with her third studio album for Capitol Records: PRISM. Katy’s previous release garnered 8 #1 singles from one album (TEENAGE DREAM). She also holds the title for the longest stay in the Top Ten of Billboard’s Hot 100 – 66 weeks – shattering a 20‐year record. Katy Perry is the most‐followed female artist on Twitter, and has the second‐largest Twitter account in the world, with over 41 million followers. -
[email protected] FORMER MUSIC DIRECTOR
FOR IMMEDIATE RELEASE September 26, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] FORMER MUSIC DIRECTOR ZUBIN MEHTA TO RETURN TO NEW YORK PHILHARMONIC RAVI SHANKAR’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra With ANOUSHKA SHANKAR as Soloist SCHUBERT’s Symphony in C major, Great November 3–5, 2016 Former Music Director Zubin Mehta will return to the New York Philharmonic to conduct Schubert’s Symphony in C major, Great, and Ravi Shankar’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra, with soloist Anoushka Shankar, the composer’s daughter, in her Philharmonic debut. The program will take place Thursday, November 3, 2016, at 7:30 p.m.; Friday, November 4 at 8:00 p.m.; and Saturday, November 5 at 8:00 p.m. The Philharmonic commissioned and premiered Shankar’s Rāgā-Mālā Concerto No. 2, for Sitar and Orchestra, in April 1981, with the composer as soloist in his Philharmonic debut and led by then Music Director Zubin Mehta, to whom the work is dedicated. Rāgā-Mālā translates to “Garland of Ragas”; in Indian classical music, a raga is a mode, of which there are more than 300. Zubin Mehta and Ravi Shankar discussed the work in 1981 in Ovation magazine. Mr. Mehta said that although he had not previously believed that Western orchestras could play Indian music, “Ravi worked individually with our solo players in every section, to help him not only to know each musician but the characteristic of his instrument. … I feel at the moment that it will work.” Shankar said: “For many years I have been dreaming of playing with the Maestro from Bombay. -
Liturgical Music: the Western Tradition
Liturgical Music: the Western Tradition Theologically, the West espoused the same basic idea regarding church music as the East: the words are most important, and the music must not distract too much from the meaning of the words but enhance it. The use of musical instruments Theoretically, the use of instruments had to be be curbed (due to its association with paganism: cf. Aelred of Rivaux’s opinion [Bychkov, “Image and Meaning”]). However, it was never considered unacceptable. Since 9-10th centuries, some instruments, such as the flute and lute, were used. Organs were used only in large cathedrals. In 14-15th centuries other instruments were used (such as the trumpet), but no large orchestras. From 16-17th centuries onwards we have larger bands of instruments used in churches. The use of instruments was usually reserved for great occasions and solemn Masses. Development of Western chant. Polyphony Plainchant (“Gregorian” chant) The earliest and simplest chants, still in use today, consist of one line of melody or one voice (monophonic, monody). The only way to elaborate such a chant is by holding individual notes for a longer period of time and ornamenting them by various melodic patterns (melisma, melismatic singing). Website example: Gradual, Easter Mass; early French music (11th c.) 31 Organum style polyphony The main principle of polyphony (many-voiced musical texture) is the addition of at least one other line of melody, or voice, that can be lower or higher than the main voice. In the organum style, the lower voice slowly chants a melody consisting of very long notes, while the upper voice provides elaboration or ornamentation. -
Melisma Melisma String of Several Notes Sung to One Syllable
P Tagg: Entry for EPMOW — melisma melisma string of several notes sung to one syllable. Melismatic is usually opposed to syllabic, the latter meaning that each note is sung to a different syllable. Melismatic and syllabic are used relatively to indicate the general character of a vocal line in terms of notes per syllable, some lines being more melismatic, others more syllabic. A sequence of notes sung staccato to the same syllable, for instance ‘oh - oh - oh - oh - oh’ in Peggy Sue (Holly 1957) or Vamos a la Playa (Righeira 1983), does not constitute a melisma be- cause each consecutive ‘oh’ is articulated as if it were a separate syllable (staccato = detached, cut up). A melisma is therefore always executed legato, each constituent note joined seamlessly to the preceding and/or subsequent one (legato = joined). Since inhalation before the start of a new phrase constitutes a break in the melodic flow, no melisma can last longer than the duration of one vocal exhalation. Since several notes are sung to one syllable within the duration of one musical phrase, long note values are uncommon in melismas. Melismatic singing differs more radically than syllabic singing from everyday speech in that it is uncommon to change pitch even once, let alone several times, within the duration of one spo- ken syllable. When such spoken pitch change does occur in English, for instance a quick de- scending octave portamento on the word ‘Why?’, it tends to signal heightened emotion. Together with the general tendency to regard melody as a form of heightened speech transcend- ing the everyday use of words (see MELODY §1.2), it is perhaps natural that melismatic singing is often thought to constitute a particularly emotional type of vocal expression.