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Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof. -
The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
Advanced Placement (AP) Programs (Students)
Advanced Placement (AP) HOW MANY AP Programs COURSES ARE OFFERED? The AP Program cur- rently offers more than 30 courses across mul- tiple subject areas. Each course connects directly to a wide variety of col- WHAT IS lege majors and careers. Contact your school’s ADVANCED counselor to learn what © Thinkstock © Thinkstock Photos AP Courses are being PLACEMENT? offered. WHAT DOES IT TAKE TO SUCCEED IN AN AP COURSE? ] ACADEMIC PREPARATION Academic You don’t need to be top of your class to be Preparation an AP student, but you’ll want to be pre- and pared for the AP course you choose. Some Commitment AP courses have recommended courses you should take first, and all AP courses ask that you come willing to do your best work. ] MOTIVATION You show your determination when you do © Thinkstock © Thinkstock Photos the things that matter to you. Think about when you’ve learned or accomplished some- The Advanced Placement thing you’re really passionate about. You practice until you get it right. You try harder Program enables willing when it’s not easy the first time. The efforts pay off, and you feel a huge sense of accom- and academically prepared plishment when you see how much you can students to pursue college- do when you try. That is the kind of commit- ment that is sought out and rewarded in AP level studies. Students may courses. earn college credit, advanced WHY TAKE AN AP COURSE? placement credit, or both ] Stand out in college admissions while still in high school. ] Earn college credit ] Skip college introductory courses ] Build college skills STUDENT INFORMATION ock Photos © ock Photos ADA Compliant October 2020 Thinkst WHAT ARE AP EXAMS? AP Human Geography AP Macroeconomics Each AP course has a corresponding exam through which students may earn college AP Microeconomics credit. -
Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors Richard Bass Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 155-186. Stable URL: http://links.jstor.org/sici?sici=0022-2909%28199423%2938%3A2%3C155%3AMOOAWI%3E2.0.CO%3B2-X Journal of Music Theory is currently published by Yale University Department of Music. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/yudm.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jul 30 09:19:06 2007 MODELS OF OCTATONIC AND WHOLE-TONE INTERACTION: GEORGE CRUMB AND HIS PREDECESSORS Richard Bass A bifurcated view of pitch structure in early twentieth-century music has become more explicit in recent analytic writings. -
AP Theory Summer Review Sheet
AP Theory Review Sheet The following is a study guide to prepare you for AP Music Theory. Please review all of the information so we can start our year ahead of the game. Basics of Notation Whole note Whole rest Half note Half rest Quarter note Quarter rest Eight note Eight rest Sixteenth note Sixteenth rest It is important to understand that the values of these notes are not a constant. They change based on the time signature. The one thing that is a constant is the following diagram that shows how each note relates to another Note Relationships Counting in Time These notes are based on time for example purposes only. Refer to the time signature chart below for exact counting in other time signatures. Notice how each beat is counted, no matter how small the division there are always whole numbers starting each set of beats. Note Value Counting Style 4 beats 1234 2 beats 12 34 1 beat 1 2 3 4 etc ½ beat 1 + 2 + 3 + 4 + ¼ beat 1 e + a 2 e + a 3 e + a 4 e + a Triplet 1 la le 2 la le 3 la le 4 la le Dotted Rhythm = 1(2) + = 1 (2) + 1(e+) a = 1 (e +) a Below is just a sample of how the note values can change based on the time signature the composer uses: 1 2 N/A 4 N/A 8 N/A ½ 1 2 2 4 4 8 ¼ 1/2 1 1 2 2 4 1/8 1/4 1/2 1/2 1 1 2 1/16 1/8 1/4 1/4 1/2 1/2 1 It is a very common misconception that the quarter note always equals one beat and that anything smaller than a quarter note is just played “fast.” What is important to remember is that the smaller the note’s value the more divided the beat is and not the faster the tempo. -
02-11-Nonchordtones.Pdf
LearnMusicTheory.net 2.11 Nonchord Tones Nonchord tones = notes that aren't part of the chord. Nonchord tones always embellish/decorate chord tones. Keep in mind that many authors use the term "consonance" for a chord tone, and "dissonance" for a nonchord tone. suspension (S) = "delayed step down" passing tone (PT) neighbor tone (NT) 1. Starts as chord tone, then becomes... PTs are approached and NTs are approached and 2. Nonchord tone metrically accented, left by step in the left by step in different 3. ...then resolves down by step same direction. directions. Common types: 7-6, 4-3, 9-8, 2-3 Preparation Suspension Resolution C:IV6 I escape tone (esc.) retardation (R) -"step-leap" 1. Starts as chord tone, then becomes... appoggiatura (app.) -"leap-step" -to escape, you "step to window, 2. Nonchord tone metrically accented leap out" 3. ...then resolves up by step -may be metrically accented or unaccented -may be metrically accented or unaccented "DELAYED STEP UP" -sometimes called "incomplete neighbor tone" -also sometimes called "incomplete Preparation Retardation Resolution neighbor tone" vii°6 I anticipation (ant.) cambiata (c) -- LESS COMMON -approached by leap or step -also called "changing tone" from either direction -connect 2 consonances a 3rd apart -unaccented (i.e. C-A in this example) neighbor group (n gr.) -must be a chord tone in the -only the 2nd note of the pattern is -upper and lower neighbor together next harmony a dissonance -can also be lower neighbor -may or may not be tied into -specific pattern shown below followed by upper neighbor the resolution note -common in 15th and 16th centuries vii°6 I pedal point or pedal tone (bottom C in left hand) from Bach, WTC, Fugue I in C, m. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
S Y N C O P a T I
SYNCOPATION ENGLISH MUSIC 1530 - 1630 'gentle daintie sweet accentings1 and 'unreasonable odd Cratchets' David McGuinness Ph.D. University of Glasgow Faculty of Arts April 1994 © David McGuinness 1994 ProQuest Number: 11007892 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007892 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 10/ 0 1 0 C * p I GLASGOW UNIVERSITY LIBRARY ERRATA page/line 9/8 'prescriptive' for 'proscriptive' 29/29 'in mind' inserted after 'his own part' 38/17 'the first singing primer': Bathe's work was preceded by the short primers attached to some metrical psalters. 46/1 superfluous 'the' deleted 47/3,5 'he' inserted before 'had'; 'a' inserted before 'crotchet' 62/15-6 correction of number in translation of Calvisius 63/32-64/2 correction of sense of 'potestatis' and case of 'tactus' in translation of Calvisius 69/2 'signify' sp. 71/2 'hierarchy' sp. 71/41 'thesis' for 'arsis' as translation of 'depressio' 75/13ff. Calvisius' misprint noted: explanation of his alterations to original text clarified 77/18 superfluous 'themselves' deleted 80/15 'thesis' and 'arsis' reversed 81/11 'necessary' sp. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
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. -
The Romantext Format: a Flexible and Standard Method for Representing Roman Numeral Analyses
THE ROMANTEXT FORMAT: A FLEXIBLE AND STANDARD METHOD FOR REPRESENTING ROMAN NUMERAL ANALYSES Dmitri Tymoczko1 Mark Gotham2 Michael Scott Cuthbert3 Christopher Ariza4 1 Princeton University, NJ 2 Cornell University, NY 3 M.I.T., MA 4 Independent [email protected], [email protected], [email protected] ABSTRACT Absolute chord labels are performer-oriented in the sense that they specify which notes should be played, but Roman numeral analysis has been central to the West- do not provide any information about their function or ern musician’s toolkit since its emergence in the early meaning: thus one and the same symbol can represent nineteenth century: it is an extremely popular method for a tonic, dominant, or subdominant chord. Accordingly, recording subjective analytical decisions about the chords these labels obscure a good deal of musical structure: a and keys implied by a passage of music. Disagreements dominant-functioned G major chord (i.e. G major in the about these judgments have led to extensive theoretical de- local key of C) is considerably more likely to descend by bates and ongoing controversies. Such debates are exac- perfect fifth than a subdominant-functioned G major (i.e. G erbated by the absence of a public corpus of expert Ro- major in the key of D major). This sort of contextual in- man numeral analyses, and by the more fundamental lack formation is readily available to both trained and untrained of an agreed-upon, computer-readable syntax in which listeners, who are typically more sensitive to relative scale those analyses might be expressed. This paper specifies degrees than absolute pitches.