Scales, Modes, and Chord/Cluster Concepts for 20Th-Century Techniques Exam
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Music%2034.Syllabus
Music 34, Detailed Syllabus INTRODUCTION—January 24 (M) “Half-step over-saturation”—Richard Strauss Music: Salome (scene 1), Morgan 9 Additional reading: Richard Taruskin, The Oxford History of Western Music, vol. 4 (henceforth RT), (see Reader) 36-48 Musical vocabulary: Tristan progression, augmented chords, 9th chords, semitonal expansion/contraction, master array Recommended listening: more of Salome Recommended reading: Derrick Puffett, Richard Strauss Salome. Cambridge Opera Handbooks (Cambridge, New York: Cambridge University Press, 1989) No sections in first week UNIT 1—Jan. 26 (W); Jan. 31 (M) “Half-steplessness”—Debussy Music: Estampes, No. 2 (La Soiré dans Grenade), Morgan 1; “Nuages” from Three Nocturnes (Anthology), “Voiles” from Preludes I (Anthology) Reading: RT 69-83 Musical vocabulary: whole-tone scales, pentatonic scales, parallelism, whole-tone chord, pentatonic chords, center of gravity/symmetry Recommended listening: Three Noctures SECTIONS start UNIT 2—Feb. 2 (W); Feb. 7 (M) “Invariance”—Skryabin Music: Prelude, Op. 35, No. 3; Etude, Op. 56, No. 4, Prelude Op. 74, No. 3, Morgan 21-25. Reading: RT 197-227 Vocabulary: French6; altered chords; Skryabin6; tritone link; “Ecstasy chord,” “Mystic chord”, octatonicism (I) Recommended reading: Taruskin, “Scriabin and the Superhuman,” in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton: Princeton University Press, 1997), 308-359 Recommended listening: Poème d’extase; Alexander Krein, Sonata for Piano UNIT 3—Feb. 9 (W); Feb. 14 (M) “Grundgestalt”—Schoenberg I Music: Opus 16, No. 1, No. 5, Morgan 30-45. Reading: RT 321-337, 341-343; Simms: The Atonal Music of Arnold Schoenberg 1908-1923 (excerpt) Vocabulary: atonal triads, set theory, Grundgestalt, “Aschbeg” set, organicism, Klangfarben melodie Recommended reading: Móricz, “Anxiety, Abstraction, and Schoenberg’s Gestures of Fear,” in Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, ed. -
Tonality in My Molto Adagio
Estonian Academy of Music and Theatre Jorge Gómez Rodríguez Constructing Tonality in Molto Adagio A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2015 Abstract The focus of this paper is the analysis of the work for string ensemble entitled And Silence Eternal - Molto Adagio (Molto Adagio for short), written by the author of this thesis. Its originality lies in the use of a harmonic approach which is referred to as System of Harmonic Classes in this thesis. Owing to the relatively unconventional employment of otherwise traditional harmonic resources in this system, a preliminary theoretical framework needs to be put in place in order to construct an alternative tonal approach that may describe the pitch structure of the Molto Adagio. This will be the aim of Part 1. For this purpose, analytical notions such as symmetric pair, primary dominant factor, harmonic domain, and harmonic area will be introduced before the tonal character of the piece (or the extent to which Molto Adagio may be said to be tonal) can be assessed. A detailed description of how the composer envisions and constructs the system will follow, with special consideration to the place the major diatonic scale occupies in relation to it. Part 2 will engage in an analysis of the piece following the analytical directives gathered in Part 1. The concept of modular tonality, which incorporates the notions of harmonic area and harmonic classes, will be put forward as a heuristic term to account for the use of a linear analytical approach. -
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Development of Musical Scales in Europe
RABINDRA BHARATI UNIVERSITY VOCAL MUSIC DEPARTMENT COURSE - B.A. ( Compulsory Course ) (CBCS) 2020 Semester - II , Paper - I Teacher - Sri Partha Pratim Bhowmik History of Western Music Development of musical scales in Europe In the 8th century B.C., The musical atmosphere of ancient Greece introduced its development by the influence of then popular aristocratic music. That music was melody- based and the root of that music was rural folk-songs. In each and every country, the development of music was rooted in the folk-songs. The European Aristocratic Music of the Christian Era had been inspired by the developed Greek music. In the 5th century B.C. the renowned Greek Mathematician Pythagoras had first established a relation between science and music. Before him, the scale of Greek music was pentatonic. Pythagoras changed the scale into hexatonic pattern and later into heptatonic pattern. Greek musicians applied the alphabets to indicate the notes of their music. For the natural notes they used the alphabets in normal position and for the deformed notes, the alphabets turned upside down [deformed notes= Vikrita svaras]. The musical instruments, they had invented are – Aulos, Salpinx, pan-pipes, harp, lyre, syrinx etc. In the western music, the term ‘scale’ is derived from Latin word ‘scala’, ie, the ladder; scale means an ascent or descent formation of the musical notes. Each and every scale has a starting note, called ‘tonic note’ [‘tone - tonic’ not the Health-Tonic]. In the Ancient Greece, the musical scale had been formed with the help of lyre , a string instrument, having normally 5 or 6 or 7 strings. -
Stockhausen's Cosmic Pulses
Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time. -
Superimposed Subdivisions (Polyrhythm Hell) [Sallan Tarkistama]
HEIKKI MALMBERG Superimposed Subdivisions (Polyrhythm Hell) Polyrhythms or Polymeters? Usually when musicians talk about polyrhythms, they refer to rhythmic structures that are made of two or more simultaneous time signatures, in which the secondary (superimposed) time signature basically revolves around the dominant time signature. I suggest that we use the term polymeter in such cases, and use the term polyrhythm solely in situations where there are two or more subdivisions happening in the same time interval (e.g. eight note triplets over sixteenth notes). Here’s a simple example of a polymeter where the bass drum plays in 5/16 while the hands keep common (4/4) time. 3 3 3 3 5 5 5 5 5 5 3 5 5 5 5 And here’s a not so simple example of polyrhythms using eight notes, eight/quarter note triplets and sixteenth note quintuplets. So What Should I Do? In order to learn to play any two subdivisions against each other, or rather superimpose them if you will, you should get a reference of how they sound played simultaneously on one instrument (A good teacher and a sequencer are of paramount help here), and learn to phonetically mimic the result. You can make up halfwitted sentences or just blabber away with any foolish sounds that you come up with. as long as you’re mimicking the rhythm, it doesn’t matter. 3 3 3 3 or cold cup of tea blah bla da blah Here’s two subdivisions Here they have Here’s their daily dialog after waiting to get married. -
Study Guide for State Certification for Sdmta
STUDY GUIDE FOR STATE CERTIFICATION FOR SDMTA Be able to define the following terms: rit, accelerando, molto, poco, fermata, dolce, la melodia, simile, chromatic, cantabile, misterioso, leggiero, presto, adagio, subito, scherzando, vivace, tenuto, senza, con brio, semplice, alla marcia, submediant, leading tone, super tonic, tritone, dominant, bouree, ecossaise, musette, quadrille, rondo, giocoso, clavichord, harpsichord, primo, secondo, etc. Be able to identify perfect, major, minor, augmented, and dimished intervals. Be able to identify the following chords: major, minor, diminished, augmented, dominant 7 th , minor 7 th , half diminished, neopolitan 6 th , tone cluster Be able to write the following scales: major, minor (3 forms), pentatonic, whole tone, chromatic Be able to write the following modes: dorian, phrygian, lydian, mixolydian, locrian Be able to identify key signatures and analyze bass chords Have an understanding of the following: orchestral music, symphony music, sonata, opus, number, oratorio, opera Describe the following cadences: authentic, plagal, half, deceptive Describe 3 methods of modulation List the 4 main periods of music history and give their dates; give characteristics of each style; be able to name 3 composers in each Know which period the following forms and styles were prominent: dance suite, waltz, fugue, mazurka, sonata allegro form, polytonality, canon, etude, modal, tone clusters, inventions, rondo, polyphonic, tone row, dissonance, whole tone scales, describing nature, alberti bass, homophonic, jazz -
MUSIC 214 Is a Course That Further Explores Chromatic Harmony and Introduces the Student to 20Th Century Compositional Techniques
COURSE OUTLINE : MUSIC 214 D Credit – Degree Applicable COURSE ID 010231 AUGUST 2020 COURSE DISCIPLINE : MUSIC COURSE NUMBER : 214 COURSE TITLE (FULL) : Harmony IV COURSE TITLE (SHORT) : Harmony IV CALIFORNIA STATE UNIVERSITY SYSTEM C-ID : MUS 150 – Harmony IV CATALOG DESCRIPTION MUSIC 214 is a course that further explores chromatic harmony and introduces the student to 20th century compositional techniques. Emphasis is placed on Neapolitan, augmented-sixth, tall, added sixth and altered dominant chords, and modulation to distantly-related keys. Students compose examples of the music concepts being studied. 20th compositional techniques covered in MUSIC 214 include impressionism, tone rows, pandiatonicism, polytonalism, and advanced approaches to meter and rhythm. Total Lecture Units: 3.00 Total Laboratory Units: 0.00 Total Course Units: 3.00 Total Lecture Hours: 54.00 Total Laboratory Hours: 0.00 Total Laboratory Hours To Be Arranged: 0.00 Total Contact Hours: 54.00 Total Out-of-Class Hours: 108.00 Prerequisite: MUSIC 213 or equivalent. Corequisite: MUSIC 204. GLENDALE COMMUNITY COLLEGE --FOR COMPLETE OUTLINE OF RECORD SEE GCC WEBCMS DATABASE-- Page 1 of 5 COURSE OUTLINE : MUSIC 214 D Credit – Degree Applicable COURSE ID 010231 AUGUST 2020 ENTRY STANDARDS Subject Number Title Description Include 1 MUSIC 213 Harmony III Identify and write secondary/applied and Yes borrowed chords; 2 MUSIC 213 Harmony III realize figured bass lines using secondary Yes chords, sequences, and modulation; 3 MUSIC 213 Harmony III conduct intermediate to advance -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
21-Asis Aktualios Muzikos Festivalis GAIDA 21Th Contemporary Music Festival
GAIDA 21-asis aktualios muzikos festivalis GAIDA 21th Contemporary Music festival 2011 m. spalio 21–29 d., Vilnius 21–29 October, 2011, Vilnius Festivalio viešbutis Globėjai: 21-asis tarptautinis šiuolaikinės muzikos festivalis GAIDA 21th International Contemporary Music Festival Pagrindiniai informaciniai rėmėjai: MINIMAL | MAXIMAL • Festivalio tema – minimalizmas ir maksimalizmas muzikoje: bandymas Informaciniai rėmėjai: pažvelgti į skirtingus muzikos polius • Vienos didžiausių šiuolaikinės muzikos asmenybių platesnis kūrybos pristatymas – portretas: kompozitorius vizionierius Iannis Xenakis • Pirmą kartą Lietuvoje – iškiliausio XX a. pabaigos lenkų simfoninio kūrinio, Henryko Mikołajaus Góreckio III simfonijos, atlikimas • Dėmesys tikriems šiuolaikinės muzikos atlikimo lyderiams iš Prancūzijos, Vokietijos ir Italijos Partneriai ir rėmėjai: • Intriguojantys audiovizualiniai projektai – originalios skirtingų menų sąveikos ir netikėti sprendimai • Keletas potėpių M. K. Čiurlioniui, pažymint kompozitoriaus 100-ąsias mirties metines • Naujų kūrinių užsakymai ir geriausi Lietuvos bei užsienio atlikėjai: simfoniniai orkestrai, ansambliai, solistai Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network Rengėjai: for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme.......................................................................................2 -
Download Music Theory IV Syllabus 2018
MUSC 212 Prof. Tim Tollefson Music Theory IV Office: YFAC 206 Spring, 2018 [email protected] MWF 10:30-11:20 AM Office Phone: 382 Course Description This is the final course in a series (MUSC 111, 112, 211, and 212) that is designed to give the student a firm grasp of the concepts and practices commonly found in Western art music. Music of the 19th and 20th centuries will be the primary focus. Contemporary music (late 20th century and early 21st century) will also be discussed, although not in as much detail. The initial focus will be on the increased use of chromaticism and enharmonic chords, and then later we will study some of the new methods of music composition that came to the fore when the traditional tonal system broke down. This course supports the music department's overall objective for music theory, composition and music skills, which reads as follows: Students will be able to create, manipulate and analyze musical structures typical of the major historical periods, utilizing the many elements of musical language such as melody, harmony, rhythm, form, timbre, and notation. (Program Learning Outcome 1) Learning Outcomes for Music Theory IV: A student who gets an “A” in this course will be able to: --explain the numerous musical terms covered in the course --do a Roman numeral analysis of musical compositions involving the various types of chords covered in Music Theory I-IV --label embellishing tones in a tonal composition --recognize, create and use doubly augmented 4th chords, enharmonic diminished 7ths, enharmonic German