Martijn Hooning on HARMONIC ANALYSIS
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AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
The Piano Improvisations of Chick Corea: an Analytical Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 The iP ano Improvisations of Chick Corea: An Analytical Study. Daniel Alan Duke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duke, Daniel Alan, "The iP ano Improvisations of Chick Corea: An Analytical Study." (1996). LSU Historical Dissertations and Theses. 6334. https://digitalcommons.lsu.edu/gradschool_disstheses/6334 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the te d directly fi-om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
Modes, Scales, Functional Harmony, and Nonfunctional
MODES, SCALES, FUNCTIONAL HARMONY, AND NONFUNCTIONAL HARMONY IN THE COMPOSITIONS OF HERBIE HANCOCK Keith Waters The decade of the 1960s witnessed a vast expansion of the harmonic resources available to the jazz composer. The compositions of jazz pia- nist Herbie Hancock played an important role in shaping this emerging harmonic language. The innovations that arose affected both harmonic structure (chord type) and harmonic progression (chord-to-chord succes- sion). These newer harmonic developments—often referred to as “modal harmony” or “modal jazz”—remain today as a significant cornerstone of the harmonic vocabulary of jazz. In this article I examine several of Hancock’s compositions written and recorded during the 1960s, pointing out Hancock’s compositional approaches and innovations against the backdrop of standard functional harmony and modal harmony. I address three general questions: (1) How is compositional structure created when harmonic function is weakened or absent? (2) How did Hancock further extend the modal innovations pioneered by Miles Davis and others? (3) In what ways was Hancock Journal of Music Theory, 49:2 DOI 10.1215/00222909-011 © 2008 by Yale University 333 Downloaded from https://read.dukeupress.edu/journal-of-music-theory/article-pdf/49/2/333/377798/11-JMT_49.2.pdf by UNIV CA IRVINE user on 03 April 2020 able to merge functional harmonic procedures with modal harmonic pro- cedures? Hancock attained national prominence as a member of the Miles Davis Quintet, playing piano with Davis between 1963 and 1968. With his ten- ure with Davis, his recordings as a sideman on numerous albums, and his own series of albums for the Blue Note label under his own name, Han- cock was considered one of the most innovative, versatile, and accom- plished jazz pianists of the decade. -
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Com pany 300 North Z eeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9227220 Aspects of early major-minor tonality: Structural characteristics of the music of the sixteenth and seventeenth centuries Anderson, Norman Douglas, Ph.D. -
Identifying French Compositional Styles: Subtlety Through Familiarity
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2017 Identifying French Compositional Styles: Subtlety Through Familiarity Brandon Kinsey University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Music Commons Recommended Citation Kinsey, Brandon, "Identifying French Compositional Styles: Subtlety Through Familiarity" (2017). Electronic Theses and Dissertations. 1302. https://digitalcommons.du.edu/etd/1302 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. IDENTIFYING FRENCH COMPOSITIONAL STYLES: SUBTLETY THROUGH FAMILIARITY __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Brandon Kinsey June 2017 Advisor: Kristin Taavola Author: Brandon Kinsey Title: IDENTIFYING FRENCH COMPOSITIONAL STYLES: SUBTLETY THROUGH FAMILIARITY Advisor: Kristin Taavola Degree Date: June 2017 Abstract In this study, I examine two French berceuses for violin and piano to identify common compositional traits, specifically subtlety and familiarity in rhythm and harmony. Both Fauré’s Berceuse (1878-9) and Ravel’s Berceuse sur le nom de Gabriel Fauré (1922) are representative of small form pieces written by French composers; in addition, the relationship of the two works is particularly striking as Fauré was Ravel’s teacher. The similarities of genre and instrumentation, coupled with 40 years of separation provides a unique setting to examine aspects of French compositional practices over time. -
The Development of Organ-Point Since Bach
I J4a J er V The Development 01 Orqan-Po\n-V 5\nce bach THE DEVELOPMENT OF ORGAN-POINT SINCE BACH BY FLORENCE MAY JERVIS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN THE SCHOOL OF MUSIC OF THE UNIVERSITY OF ILLINOIS 19 16 < UNIVERSITY OF ILLINOIS June X i9d6 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY FlDxence May Jervia ENTITLED Ik.e Development of. Organ Point since Bach IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF Bachelor of Music HEAD OF DEPARTMENT OF THE DEVELOPMENT OF ORGAN- POINT SINCE BACH. Before going into detail conoerning the development of Organ-point, also called Pedal-point, it is necessary that we should have a definite iinderstanding of what Organ-point is, and that we should also know something of its history and of its various modi- fications. Organ-point* is the sustaining of a tone or tones through an indefinite number of measures in one or more voices, while other voices move through a succession of harmonies, some of which are foreign to the tone or tones forming the pedal. Chords which are foreign to the Organ-point should not follow each other too fre- quently, but should alternate with those which belong harmonically to the organ-point. "The mere sustaining of a note in a chord against one or more moving parts does not constitute a pedal, nor does the simple sustaining of a note through harmonies to which it belongs." Orgsui-point most commonly appears in the bass below the rest of the harmony, nevertheless it may occasionally appear in the Soprano and is even possible in the Tenor and Alto voices, though it very rarely appears there. -
Anime/Games/J-Pop/J-Rock/Vocaloid
Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi -
Romantic and Impressionist Style in the Harp
The Pennsylvania State University The Graduate School School of Music ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP REPERTOIRE OF MARCEL TOURNIER A Thesis in Musicology by Jo Lynn Dentith © 2008 Jo Lynn Dentith Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2008 ii The thesis of Jo Lynn Dentith was reviewed and approved* by the following: Charles Youmans Associate Professor of Music Thesis Adviser Marica Tacconi Associate Professor of Music Sue Haug Professor of Music and Director, School of Music *Signatures are on file in the Graduate School. iii Abstract This thesis investigates the Six Noëls by Marcel Tournier (1879-1951), focusing on the unique synthesis of Romantic and Impressionist elements contained in this suite. Chapter one considers Romantic trends of melody, harmony, and rhythm and their existence in this music. Chapter two delves into Impressionist characteristics of melody, harmony, rhythm, and tone color. Tournier’s idiosyncratic blend of Romanticism and Impressionism led to important new approaches to harp technique and revolutionized the sound of harp literature during the early twentieth century. iv Table of Contents List of Examples………………………………………………………………………….v Introduction…………………………………………………………………………....…1 Chapter 1. Romanticism in Selected Examples of Tournier’s Harp Repertoire….........................5 Chapter 2. Impressionism in Selected Examples of Tournier’s Harp Repertoire...………..…....32 Conclusion...…………………………………………………..……..…………………..52 Bibliography……………………………………………………………………………..55 v List of Examples Example 1: Measures 1-4 of Movement One of Six Noëls ………………………………19 Example 2: Measures 24-26 of Movement Two of Six Noëls ………………………… 19 Example 3: Measures 16-19 of Movement Five of Six Noëls …………………………...20 Example 4: Measures 10-15 of Movement Six of Six Noëls …………………………….20 1 Introduction This thesis will investigate the music of harpist and composer Marcel-Lucien Tournier, who bridged the gap between French Romanticism and Impressionism in the harp music of the early twentieth century. -
An Approach to the Teaching of Music Composition, Illus
AN APPROACH TO THE TEACHING OF MUSIC COMPOSITION, ILLUS TRATED BY AN ORIGINAL WORK FOR ORCHESTRA, SYMPHONY WITH PROLOGUE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Dootor of Philosophy in the Graduate School of The Ohio State University By LEE WILLIAM STRYKER, A. B., M. A. The Ohio State University 1955 Approved byj Adviser \ Department of Education ACKNOWLEDGMENT This project was made possible only through the cooperative efforts of members of the Department of Education and the Department of Music at Ohio State University. In particular, my co-advisers, Professor H. Gordon Hull fish in the Department of Education, .and Professor Norman Phelps in the Department of Music, pro vided intellectual leadership of a high order and re vealed an understanding grasp of the problem at hand. The notion of “freedom for the student" is a deeply ingrained facet of their total personalities. Professor Earl W. Anderson, in the Department of Education was most helpful, also. His broad conception of the educational process, and his manner of presenting his views, provided a continuing intellectual challenge to me as the study progressed. Special mention must be given to my fellow students, Scott Blankenship, Gordon Pyle and, in particular, to Naguib Ibrahim, now on the faculty of Ain Shams Univer sity in Cairo, who very greatly contributed to my philo sophical understanding for the past two years. Finally, it is with the greatest appreciation that I thank my wife, Joan, and my children, Bill and June, for their help to me during my stay at Ohio State University. -
Stilistik Des Mainstreams in Der Popularmusik
Universität zu Köln Musikwissenschaftliches Institut WS 07/08 Referent: Poxymedon Hausarbeit zum Hauptseminar „Domestikation des Groove: Popularmusik in Asien“ Dozenten: Prof. Dr. Rüdiger Schumacher / Dr. Lars Christian Koch / Dr. Julio Mendivil Stilistik des Mainstreams in der Popularmusik 1 Inhalt Abkürzungen 3 Musikbeispiele 3 Zitierweise 3 Einleitung 4 Problematisierung des Begriffs und dessen Reglemen-tation 4 Anwendung der Prototypentheorie auf die Musik 7 Was sind Prototypen? 8 Zwei Beispiele für experimentelle Prototypisierung 10 Konstruktion und musiktheoretische Manifestation des prototypischen Mst-Stils 13 1. Allgemein 14 2. Tonalität 14 3. Melodik 15 4. Harmonik 15 5. Gesangsart 15 6. Mechanik 15 7. Sound 15 8. Instrumentation 16 9. Rhythmik / Metrik / Taktart 16 10. Formaufbau 16 11. Songtext 16 Das Virtuem 17 12. Zeitlosigkeit 17 13. Genremix 18 14. Veröffentlichung einer Single 18 15. Sendeplätze auf unspezifischen Mst-Sendern in Radio und Fernsehen 18 16. Oldie- bzw. Repertoirewert und Opportunität 18 Diskussion 19 Tonalität 20 Melodik und Harmonik 21 Rekursionsharmonik (Floskelhafte Kadenzblöcke) 23 Instrumentation 27 Metrik und Taktarten 28 Rhythmik 29 Formbau 30 Songtext 30 Singleveröffentlichung 32 Sendepräsenz 34 Mainstream = Hit, Hit = Mainstream ? 37 Resümee 38 Bibliografie 39 Bücher 39 Aufsätze 39 Webseiten 40 2 Abkürzungen B Bridge I Intro Mst Mainstream MNHB Modell der notwendigen und hinreichenden Bedingungen ÖRR Öffentlich Rechtlicher Rundfunk PM Popularmusik pM populäre Musik PT Prototyp PTT Prototypentheorie R Refrain S Strophe T Totalverwendung im Song (ausschließlich) Musikbeispiele Alle Musikbeispiele (Songs) in dieser Hausarbeit habe ich eigenständig auditiv gesammelt und passend zusammengestellt mit Ausnahme derjenigen unter der Überschrift "Floskelhafte Kadenzblöcke (Rekursionsharmonik)" und dem Absatz mit dem Namen 1564. Zitierweise Die Quellennennung für ein Zitat wird bei AutorInnen, von denen nur eine einzige Quelle aus der Bibliografie verwendet wurde, durch Nachname und Seitenzahl angegeben.