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4. Non-Heptatonic Modes
Tagg: Everyday Tonality II — 4. Non‐heptatonic modes 151 4. Non‐heptatonic modes If modes containing seven different scale degrees are heptatonic, eight‐note modes are octatonic, six‐note modes hexatonic, those with five pentatonic, while four‐ and three‐note modes are tetratonic and tritonic. Now, even though the most popular pentatonic modes are sometimes called ‘gapped’ because they contain two scale steps larger than those of the ‘church’ modes of Chapter 3 —doh ré mi sol la and la doh ré mi sol, for example— they are no more incomplete FFBk04Modes2.fm. 2014-09-14,13:57 or empty than the octatonic start to example 70 can be considered cluttered or crowded.1 Ex. 70. Vigneault/Rochon (1973): Je chante pour (octatonic opening phrase) The point is that the most widespread convention for numbering scale degrees (in Europe, the Arab world, India, Java, China, etc.) is, as we’ve seen, heptatonic. So, when expressions like ‘thirdless hexatonic’ occur in this chapter it does not imply that the mode is in any sense deficient: it’s just a matter of using a quasi‐global con‐ vention to designate a particular trait of the mode. Tritonic and tetratonic Tritonic and tetratonic tunes are common in many parts of the world, not least in traditional music from Micronesia and Poly‐ nesia, as well as among the Māori, the Inuit, the Saami and Native Americans of the great plains.2 Tetratonic modes are also found in Christian psalm and response chanting (ex. 71), while the sound of children chanting tritonic taunts can still be heard in playgrounds in many parts of the world (ex. -
Andy Arleo Université De Nantes (CRINI)
LAURA NYRO’S ELI AND THE THIRTEENTH CONFESSION: TRANSCENDING THE DICHOTOMIES OF THE WOODSTOCK YEARS Andy Arleo Université de Nantes (CRINI) As Wavy Gravy says, if you can remember the sixties, you weren't really there (Van Ronk 141) Introduction1 As a member of the so-called Woodstock Generation, I am aware of the potential pitfalls of writing about this period. As Dave Van Ronk points out in his quote from Merry Prankster Wavy Gravy (Hugh Romney), memories of those times tend to be hazy. On the other hand, research on memory has shown that there is a “reminiscence bump,” that is “people tend to remember disproportionately more events from the period between their adolescence and early adulthood” (Foster 64). In any case, it is clear that memory, whether it is individual and collective, reconstructs past experience, and that my own experience of the era has inevitably flavored the content of this article, making it impossible to aspire completely to the traditional ideals of scholarly distance and detachment. Future generations of cultural analysts will no doubt reassess the Woodstock Years through different lenses. The name “Laura Nyro” may not ring a bell for many readers, as it did not for many of my students, colleagues and friends whom I have informally surveyed. This is understandable since, unlike other singer-songwriter icons of the period (e.g., Bob Dylan, Joni Mitchell, James Taylor), Nyro was never really in the mainstream, although her songs have often been covered by a broad spectrum of singers and bands in a remarkable variety of musical styles, sometimes achieving a fair amount of commercial success. -
Scobie on I'm Not There
I’M NOT THERE (1956-2007) Stephen Scobie Je est un autre—Arthur Rimbaud I’m Not There (2007) In this autumn season of 2007, I can see that I am going to be thinking a lot about the Bob Dylan song known as “I’m Not There (1956).” At least, that is the title given to it on most of its early, bootleg appearances. Now that it has finally been officially released, the sub-title date has been dropped—which is a pity (since it added an element of mystery to the song) but also understandable (since no good explanation of the date has ever been given). “I’m Not There” is perhaps the ultimate Dylan bootleg, and has always been a subject for cult idealization as the most obscure of Dylan’s “lost” songs: a major master- piece that almost no one knows, and which indeed seems to conspire actively against being known. Now, it has become the title of Todd Haynes’s movie I’m Not There, “inspired by the music and many lives of Bob Dylan”—“many” being the operative word. The film is already famous for casting six different actors to play aspects of Dylan at different points in his career. If this strategy is a gimmick, it is a successful one: the film is generating vast amounts of advance publicity, much of it based on the photographs of Cate Blanchett looking, uncannily and androgynously, like 1966 Bob. The film is not due for North American release until late November, though it has played in prestigious festivals like Toronto, New York, and Venice. -
Teaching Guide: Area of Study 7
Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time. -
NO ONE KNOWS ABOUT US by Bridget Canning. a Creative Writing
NO ONE KNOWS ABOUT US By Bridget Canning. A Creative Writing Thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Masters of Arts in English (Creative Writing) Department of English, Memorial University of Newfoundland Abstract: No One Knows about Us is a collection of twelve contemporary short stories. As the title suggests, the characters in each story deal with secrets: relationships, longings, grudges, addictions, and trickery. For them, these secrets are simultaneously overwhelming and futile; their importance within their small worlds reflect a deeper feeling of insignificance in the greater scheme of life in a small city in a northern province hemmed on to the side of a continent. Here are a range of characters and situations set in St. John’s, Newfoundland and Labrador. The stories are mapped out in different areas of the city and move chronologically over a year, starting in fall and ending in late summer. They work together to create a small sample of life in modern-day St. John’s – one that is informed by the influences of history, economy, and weather. i Acknowledgements: This thesis would not have been accomplished without the help of the English department faculty at Memorial such as Robert Finley, Robert Chafe, and especially my thesis advisor, Lisa Moore. Thanks to the Graduate Society for their financial support. Thanks to Jonathan Weir, Deirdre Snook, and the members of the Naked Parade Writing Collective for their guidance and encouragement. ii Contents: 1. Seen, p. 1 2. With Glowing Hearts, p. 19 3. -
View Song List
Song Artist What's Up 4 Non Blondes You Shook Me All Night Long AC-DC Song of the South Alabama Mountain Music Alabama Piano Man Billy Joel Austin Blake Shelton Like a Rolling Stone Bob Dylan Boots of Spanish Leather Bob Dylan Summer of '69 Bryan Adams Tennessee Whiskey Chris Stapleton Mr. Jones Counting Crows Ants Marching Dave Matthews Dust on the Bottle David Lee Murphy The General Dispatch Drift Away Dobie Gray American Pie Don McClain Castle on the Hill Ed Sheeran Thinking Out Loud Ed Sheeran Rocket Man Elton John Tiny Dancer Elton John Your Song Elton John Drink In My Hand Eric Church Give Me Back My Hometown Eric Church Springsteen Eric Church Like a Wrecking Ball Eric Church Record Year Eric Church Wonderful Tonight Eric Clapton Rock & Roll Eric Hutchinson OK It's Alright With Me Eric Hutchinson Cruise Florida Georgia Line Friends in Low Places Garth Brooks Thunder Rolls Garth Brooks The Dance Garth Brooks Every Storm Runs Out Gary Allan Hey Jealousy Gin Blossoms Slide Goo Goo Dolls Friend of the Devil Grateful Dead Let Her Cry Hootie and the Blowfish Bubble Toes Jack Johnson Flake Jack Johnson Barefoot Bluejean Night Jake Owen Carolina On My Mind James Taylor Fire and Rain James Taylor I Won't Give Up Jason Mraz Margaritaville Jimmy Buffett Leaving on a Jet Plane John Denver All of Me John Legend Jack & Diane John Mellancamp Folsom Prison Blues Johnny Cash Don't Stop Believing Journey Faithfully Journey Walking in Memphis Marc Cohn Sex and Candy Marcy's Playground 3am Matchbox 20 Unwell Matchbox 20 Bright Lights Matchbox 20 You Took The Words Right Out Of Meatloaf All About That Bass Megan Trainor Man In the Mirror Michael Jackson To Be With You Mr. -
THE CHRONICLE Lines Goes Astray
RECESS Strolling down Utopia Parkway Fountains of Wayne's latest album is a gem, but the Backsliders' sophomore effort Southern THE CHRONICLE Lines goes astray. SEE RECESS, p. 12-13 Sweet as Candy: Duke wins golf title When it became clear that the rain • Freshman Candy Hannemann would not stop and that the Blue Devils finished in second place and led were indeed champions, there was the usual celebration, but something was the Blue Devils to their first-ever amiss. There was an unmistakable national championship. sense of uneasiness over the way the By NEAL MORGAN tournament ended. Hie Chronicle "I was happy, but it was a weird feel TULSA, Okla. — When the women's ing," said second place finisher Candy golf team dreamed of winning its first-ever Hannemann of the moment she real national championship, it dreamed of the ized play would not resume. "I wasn't 18th hole, the sun shining and the final sure if I should be happy, or just kind of putt dropping. happy. I didn't know what to feel. But But when the Blue Devils' dreams after I was with the girls, I realized became reality Saturday, they weren't what we had done. It doesn't matter the even on the course. They were inside, way it ended." playing cards. The cause for the uneasiness was Ari With seven holes left in the fourth and zona State, which through the course of final round, severe storms prevented the the day had made great strides against the NEAL MORGAN/THE CHRONICLE completion of play. -
The Carroll News
John Carroll University Carroll Collected The aC rroll News Student 4-30-1998 The aC rroll News- Vol. 90, No. 23 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 90, No. 23" (1998). The Carroll News. 1093. http://collected.jcu.edu/carrollnews/1093 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. !for You . .9lbout 'You. r.By 'You. Volume 90 • Number 23 John Carroll University • Cleveland, Ohio April 30, 1998 ----~--------------------------- ---- ---·----------------- --- -- JCU A/1-Amercian JCU star signed by NFL London Fletcher Mark Boleky rai e by herself At the age of 12, cided to take up orgamzed foot Sports Editor his Sister wa brutally raped ball That year he earned all-dis headed for NFL Thosearound him have known Fletcher began spendmg more trict and all state honors for years he was too good to play time with a group of f nend > Fletcher followed a basketball here. which could probably have been cholar h1p to the D1vision I St This fact became clear to the con idered a gang. Francis (Pa), but transferred to rest of the football world last He knew he needed an outlet, Carroll after a year. "I began to Thursday, when recent John Car and sports became the easy choice. miss football, and I knew I could roll University graduate London Especially easy con idering ath transfer Ito a DIVISion Ill school! Fletcher made the rare leap from letics come JUSt about a ea y a without s1ttmg out a year," he sa1d Division IJitosigninganNFLcon breathing for fletcher. -
2012 Conference Journal Vol. 1 (Pdf)
MISSISSIPPI CONFERENCE THE UNITED METHODIST CHURCH 2012 OFFICIAL JOURNAL AND YEARBooK Volume 1 Arise! Shine! Give! 2012 JOURNAL MISSISSIPPI CONFERENCE of THE UNITED METHODIST CHURCH Uniting THE MISSISSIPPI CONFERENCE (1972) and THE NORTH MISSISSIPPI CONFERENCE (1973) TWENTY FOURTH SESSION held in Jackson, MS at Jackson Convention Complex June 8-10, 2012 Journal Editor — Garry Ruff Conference Secretary — Roger Puhr Assistant — Trey Harper and Hope Cooley Statistician — David Greer All photos courtesy of the Mississippi United Methodist Communications Bishop Hope Morgan Ward TABLE OF CONTENTS Section I - Administration A. Annual Conference Officers .........................................................................................................5 B. Conference Leadership Council ......................................................................................................6 C. Annual Conference Leadership Groups .........................................................................................9 D. Institution Trustees/Directors ....................................................................................................... 13 E. Tellers ............................................................................................................................................. 27 F. District Boards/Committees .......................................................................................................... 27 Section II - Conference Directory A. Clergy, Diaconal/Deaconess ......................................................................................................... -
PDF Download Figures, Faces & Folds 1St Edition Kindle
FIGURES, FACES & FOLDS 1ST EDITION PDF, EPUB, EBOOK Adolphe Armand Braun | 9780486821054 | | | | | Figures, Faces & Folds 1st edition PDF Book Orders ship same day or next business day. Much like this figure, the game is wacky, with the animation inspired by s cartoons. Boba Fett comes in a rich variety of colors and differences. DT Luke is the least rare of the three figures, mostly because it was also included in most Early Bird sets. Italiano Svenska Edit links. Learn More. From movie stars to musicians, some of the biggest celebrities have had their own likeness represented as a Pop Vinyl, including legendary rapper Tupac Shakur. With the success of Game Of Thrones , it didn't take long for Funko to capitalize on the show's success. Edition Volume 1 Number 4 , Hustler U. Just like the film, this Hot Topic exclusive figure details Oram being subdued by a facehugger before his end later in the film. History has its own way of dealing with decisions like that and the short lived vinyl cape Jawa became one of the vintage holy grails. Although it will only cost you a couple hundred , Zombie Dixon is tough to find and no doubt will be an excellent addition to any Walking Dead fan's collection. Chewbacca is a fine example of a figure with no major variations, but with many small differences, such as the color of his fur, his bowcaster and his pouch. Stay tuned for the future plans of honoringmatter memorialforthecovid19victims memorialcraneproject umatter umatter2me bethechange bethechangeyouwanttosee vote voteforjustice voteearly. Designated trademarks and brands are the property of their respective owners. -
Hexatonic Cycles
CHAPTER Two H e x a t o n i c C y c l e s Chapter 1 proposed that triads could be related by voice leading, independently of roots, diatonic collections, and other central premises of classical theory. Th is chapter pursues that proposal, considering two triads to be closely related if they share two common tones and their remaining tones are separated by semitone. Motion between them thus involves a single unit of work. Positioning each triad beside its closest relations produces a preliminary map of the triadic universe. Th e map serves some analytical purposes, which are explored in this chapter. Because it is not fully connected, it will be supplemented with other relations developed in chapters 4 and 5. Th e simplicity of the model is a pedagogical advantage, as it presents a circum- scribed environment in which to develop some central concepts, terms, and modes of representation that are used throughout the book. Th e model highlights the central role of what is traditionally called the chromatic major-third relation, although that relation is theorized here without reference to harmonic roots. It draws attention to the contrary-motion property that is inherent in and exclusive to triadic pairs in that relation. Th at property, I argue, underlies the association of chromatic major-third relations with supernatural phenomena and altered states of consciousness in the early nineteenth century. Finally, the model is suffi cient to provide preliminary support for the central theoretical claim of this study: that the capacity for minimal voice leading between chords of a single type is a special property of consonant triads, resulting from their status as minimal perturbations of perfectly even augmented triads. -
Glossary of Resources to Support Distance Learning in Music Compiled by Wendy Barden, Phd, Music Education Specialist Profession
Glossary of Resources to Support Distance Learning in Music Compiled by Wendy Barden, PhD, Music Education Specialist Professional Development and Resource Programs Last updated April 17, 2020 Check back through the Spring— New ideas, information, activities will be added weekly! Questions? Email Wendy at [email protected] Compiled tips for implementing distance learning • Number one! Focus on maintaining the relationships you’ve already developed with your students. • Start small and take baby steps down this new path. • Bring in an element of fun or something out of the ordinary:) • Expect this to be [mostly] asynchronous learning—let students set their own pace. • Slow down, do less, and expect everything to take a little longer than you planned. • Prepare this independent work at a level that is a little easier than the work you would have planned for classroom, face-to-face instruction. • Consider focusing on one strand or process per week. • This might be a great opportunity for students to work in the Create, Respond, and Connect processes (rather than Perform). • Use “I can…” statements so students understand what they will know or be able to do by the end of the lesson. • Give students choice, if possible. • As hard as you are working, recognize everything will not be perfect… Glossary of ready-to-use activities for distance learning posted at http://perpich.mn.gov/professional- development/state-arts-education-specialists/ Resources named in bold (right column) identify a page that can be distributed to students Grade Strand* “I can…” Resource I can sing a song I A Song A Day! K-5 Perform know in many This can be a fun, family activity completed over several days.