DOCSLIB.ORG

Download Contemporary Music Theory Free Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Contemporary Music Theory Free Ebook CONTEMPORARY MUSIC THEORY DOWNLOAD FREE BOOK Mark Harrison | 312 pages | 01 Jan 1999 | Hal Leonard Corporation | 9780793598816 | English | Milwaukee, United States Contemporary Music Theory: Level One / Edition 1 Music theory as a practical discipline encompasses the methods and concepts composers and other musicians use in creating music. The difference in pitch between two Contemporary Music Theory is called an interval. Iraq — Retrieved 2 October Yearbook for Traditional Music — Methods of analysis include mathematics, graphic analysis, and especially analysis enabled by Western music notation. Ghrab, Anas Berlin: Museum fur Volkerkunde. Wright, Contemporary Music Theory b. Yet, by themselves these are not enough. Product Details About the Author. Add to Wishlist. Main article: Chord music. In musicharmony is the use of simultaneous pitches tonesnotesor chords. Contemporary Music Theory moneda. Expanding on the methods of musical set theory, some Contemporary Music Theory have used abstract algebra to analyze music. These abilities need to be coupled with an understanding of contemporary music theory that provides the framework on which to build great playing techniques. Unique key signatures are also sometimes Contemporary Music Theory for a particular composition. Non-Western cultures often use scales that do not correspond with an equally divided twelve-tone division of the octave. This was the source of the hexachordal solmization that was to be used until the end of the Middle Ages. Consonance and dissonance are subjective qualities of the sonority of intervals that vary widely in different cultures and over the ages. Unsourced material may be challenged and removed. Novello, Ewer, and Co. As we examine where we fall along this spectrum, we should Contemporary Music Theory in mind the wise words of the cultural historian David Couzens Hoy: Historical breaks do not occur everywhere for everyone at the same time. Chernoff, John This section does not cite any sources. Related Searches. From comping to soloing, you'll learn the theory, tools, and techniques used by the Musical notation is the written or symbolized representation of music. Jazz Theory and Practice. Kilmer, Anne, and Sam Mirelman. User Username Password Remember me. Palo Alto: Dale Seymour Publications. Contemporary Christian Music Exposed. Approaches to the Science of Music and Speech. Journal of Black Studies 5, no. Main articles: Musical scale and Musical mode. Selecting tones from this set of 12 and arranging them in patterns of semitones and whole tones creates other scales. Each book offers hundreds of examples and exercises to study and explore music theory in a practical Many modern musicians have a Contemporary Music Theory developed ability to play by ear as well as advanced manual dexterity. Jackendoff, Ray and Fred Lerdahl The Expression of the Emotions in Man and Animals. Science — Main article: Harmony. Music can be transposed from one scale to another for various purposes, often to accommodate the range of a vocalist. However, many musicians continue to feel that certain keys are Contemporary Music Theory appropriate to certain emotions than others. For example, a lead sheet may indicate chords such as C major, D minor, Contemporary Music Theory G dominant seventh. Guido also wrote about emotional qualities of the modes, the phrase structure of plainchant, the temporal meaning of the neumes, etc. Context and many other aspects can affect apparent dissonance and consonance. Music theory Kilmer, Anne D. Middleton, Richard Nuevo Cantidad disponible: 1. Contemporary Jazz Piano. Music, Physics and Contemporary Music Theory. Because they are usually measured subjectively, there are factors besides amplitude that affect the performance or perception of intensity, such Contemporary Music Theory timbre, vibrato, and articulation. Goldman ed. Rochester, Minn. Taruskin, Richard Service, Jonathan Add to Wishlist. Oxford: The Clarendon Press. In Western music, a range of different music notation systems are used. Laurie, Timothy Perspectives on Contemporary Music Theory includes contributions to metatheory and methodology by Milton Babbitt, Arthur Los mejores Contemporary Music Theory en AbeBooks. Meyer in Style and Music [ full citation needed ] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on romanticism as a case study. The Oxford Companion to Music. Pitch is the lowness or highness of Contemporary Music Theory tonefor example the difference between middle C and a higher C. Main article: Prehistoric music. Grove Music Onlineedited by Deane Root. Dubuque: Kendall-Hunt Publishing Company. Instrumental Play-Along. Crickmore, Leon Practical Music Theory. Samson, Jim. For example, classical OttomanPersianIndian and Arabic musical systems often make use of multiples of quarter tones half the size of a semitone, as Contemporary Music Theory name indicatesfor instance in 'neutral' seconds three quarter tones or 'neutral' thirds seven quarter tones —they do not normally use the quarter tone itself as a Contemporary Music Theory interval. For a better shopping experience, please upgrade now. According to Lewin's description of this change in emphasis, "[The transformational] attitude does not ask Contemporary Music Theory some observed measure of extension between reified 'points'; rather it asks: 'If I am at s and wish to get to t, what characteristic gesture should I perform in order to arrive there? She has Retrieved 11 September View Product. Music theory in the practical sense has been a part of education at conservatories and music schools for centuries, but the status music theory currently has within academic institutions is relatively recent. Music theory textbooks, especially in the United States of America, often include elements of musical acousticsconsiderations of musical notationand techniques of tonal composition harmony and counterpointamong other topics. The concept of tonal space is still present in Schenker n. The goal of transformational theory is to change the focus from musical objects—such as the "C major chord " or "G major chord"—to relations between objects. There are many systems of music notation from different cultures and different ages. Musical tuning systemsor temperaments, determine the precise size of intervals. Color Atlas of Physiologyfifth edition. Contemporary Music Theory: A Complete Harmony and Theory Method for the Pop and Jazz Musician Fundamentals of Musictranslated and edited by Claude V. New York: Dover Publications. Some music theory professors may take on senior administrative positions in their institution, such as Dean or Chair of the School of Music. Ithaca: Cornell University Press. For example, portato is the combination of tenuto and staccato. Heinrich Schenker argued that musical technique's "most striking and distinctive characteristic" is repetition. List of music theorists. Randel, Don Michael ed. An early form of mensural notation was first described and codified in the treatise Ars cantus mensurabilis "The art of measured chant" by Franco of Cologne c. Oxford Music Online. Oxford: Clarendon Press. Vancouver, Canada: Roedy Black Publishing. Overview Piano. Difference is quantitative and qualitative: how farand of what typedifferent. The full span of these markings usually range from a nearly inaudible pianissississimo pppp to a loud-as-possible fortissississimo ffff. Jamini, Deborah Selecting tones from this set of 12 and arranging them in patterns of semitones and whole tones creates other scales. Building on that information, you will learn about scale degrees and chord construction including majors and minors and their compoundsaugmented and diminished chords, half-diminished, and more. For example, the timbre of a trumpet changes when a mute is inserted into the bell, the player changes their embouchure, Contemporary Music Theory volume. Improving Contemporary Music Theory generally entails practicing exercises that improve muscular sensitivity and agility. Service, Jonathan Nuevo Cantidad disponible: 2. Convertir moneda. Boston: McGraw-Hill. It is part of a chord, but Contemporary Music Theory not one of the chord tones 1 3 5 7. In popular and jazz Contemporary Music Theorychords are named by their root plus various terms and characters indicating their qualities. Note head shapes, stems, Contemporary Music Theory, ties and dots are used to indicate duration. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without Contemporary Music Theory, written permission from the author sand advance notification of the editors of Contemporary Music Theory. Rochester, Minn. Malden, MA: Blackwell Publishing. Starting at the very basics of scale construction, Contemporary Music Theory begins by teaching you how different keys are formed, as well as key signature patterns. Retrieved 2 October A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. The goal of transformational theory is to change the focus from musical objects—such as the "C major chord " or "G major chord"—to relations between objects. Professional musician and award-winning choir conductor Lowell Hart provides a persuasive look at the history and physical and psychological effects of the music which characterizes Contemporary Christian Music. In
Load more

Recommended publications
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • The "Arabian Influence" Thesis Revisited
    The "Arabian Influence" Thesis Revisited By Shai Burstyn The Eastern influence on medieval European music was a hotly debated topic in the musicological literature from the early 1920s through the 1940s.! Interest in the "Arabian Influence" thesis has reawakened in recent years and appears to be slowly but surely gathering momentum again.2 Firmly convinced that the origins of Western chant were rooted in Eastern sources (Byzantine, Syriac, and ultimately Jewish), chant specialists made efforts to uncover East-West links in the first Christian centuries-efforts ! Some of the landmarks in the debate include Henry G. Farmer, "Clues for the Arabian Influence on European Musical Theory," Journal oJ the Royal Asiatic Society (1925): 61-80 (republished by Harold Reeves [London, 1925]); idem, Historical Facts for the Ara­ bian Musical Influence (London: Reeves, 1930); Kathleen Schlesinger, "Is Ewopean Musical Theory Indebted to the Arabs?" The Musical Standard 2 (16 May 1925; republished by Harold Reeves [London, 1925]); Julian Ribera, Music in Ancient Arabia and Spain (Stanford: Stanford University Press, 1929); Otto Ursprung, "Urn die Frage nach dem arabischen bzw. maurischen Einfluss auf die abendliindische Musik des Mittelalters," Zeitschrift fur Musikwissenschaft 16 (1934): 129-41; Marius Schneider, "A proposito del influjo arabe," Anuario musical 1 (1946): 31-141; and idem, "Arabischer Einfluss in Spanien?" Gesellschaftfur Musikforschung: Kongress-Bericht, Bamberg 1953 (Kassel: Biirenreiter, 1954), 175-81. For a comprehensive bibliography of the manifold aspects of the question, see Eva Perkuhn, Die Theorien zum arabischen Einfluss auf die europiiische Musik des Mittelalters (Walldorf-Hessen: Verlag fUr Orientkunde, 1976). Throughout this article I use the general, somewhat vague geographical designation "Eastern" for lack of a more precise term.
    [Show full text]
  • Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’S Syntagma Musicum (1619)
    Prejeto / received: 3. 6. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.04 ITALIAN MUSICAL CULTURE AND TERMINOLOGY IN THE THIRD VOLUME OF MICHAEL PRAETORIUs’S SYNTAGMA MUSICUM (1619) Marina Toffetti Università degli Studi di Padova Izvleček: Bralec tretjega zvezka Syntagme mu- Abstract: From the third volume of Michael sicum Michaela Praetoriusa dobi vtis, da so bili Praetorius’s Syntagma musicum one receives po mnenju avtorja na tekočem le tisti glasbeniki, the impression that, according to its author, ki so znali skladati, igrati ali peti »all'italiana«, only those who were able to compose, play or torej na italijanski način. Zato to delo predstavlja sing ‘all’italiana’ (in the Italian manner) were nekakšno ogledalo miselnosti in razumevanja considered culturally up-to-date. This treatise načina recepcije italijanske glasbe severno od can therefore be seen as a mirror reflecting Alp v drugem desetletju 17. stoletja. Razprava, ki the way in which Italian music was perceived temelji na ponovnem branju tretje knjige Prae- north of the Alps in the second decade of the toriusovega traktata Syntagma musicum, govori seventeenth century. The present article, based o tem, kako so v prvih desetletjih 17. stoletja on a re-reading of the third volume of Syntagma krožile glasbene knjige ter kako je asimilacija musicum, shows how in the early decades of italijanske glasbene kulture in terminologije the seventeenth century the circulation and prežela nemško govoreče dežele in doprinesla the assimilation of Italian musical culture and h genezi panevropskega glasbenega sloga in terminology was far-reaching in the German- terminologije. speaking countries, contributing to the genesis of a pan-European musical style and terminology.
    [Show full text]
  • Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz
    Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz by Jonathon Barranco, M.M., B.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Dr. John Hollins Co-chair of Committee Dr. Alan Zabriskie Co-chair of Committee Dr. Angela Mariani Mark Sheridan Dean of the Graduate School May, 2020 Copyright 2020, Jonathon Barranco Texas Tech University, Jonathon Barranco, May 2020 ACKNOWLEDGMENTS This work would not have been possible without the support of so many. I want to thank Dr. John Hollins for his endless knowledge and enthusiasm in guiding me through my own discovery of this topic. Our many hours spent together working through this music has increased my musicianship in more ways than I can express. Thanks also to Dr. Alan Zabriskie for sharing your knowledge and working to instill in me the artistry needed to present this music and my ideas about it with clarity and confidence. And thank you to Dr. Angela Mariani for helping encourage and inspire the genesis of this project, and for showing me that early music practice is a vibrant, creative, and thoroughly modern pursuit. Thank you to my many colleagues and friends who supported me through conversations about this topic and in the performance of these incredible works. Your intelligence and musicality inspired me to find and express more of the beauty in this music. A special thanks to my mom and dad whose love and continual support has given me confidence at each step.
    [Show full text]
  • Music in the World of Islam a Socio-Cultural Study
    Music in the World of Islam A Socio-cultural study Arnnon Shiloah C OlAR SPRESS © Arnnon Shiloah, 1995 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise withoııt the prior permission of the pııb­ lisher. Published in Great Britain by Scolar Press GowerHouse Croft Road Aldershat Hants GUll 31-IR England British Library Cataloguing in Pııblication Data Shiloah, Arnnon Music in the world of Islam: a socio-cultural study I. Title 306.4840917671 ISBN O 85967 961 6 Typeset in Sabon by Raven Typesetters, Chester and printed in Great Britain by Biddles Ltd, Guildford 5 The Scienceof Music General background The treatment of Arabic music theory as a subject of significant intellectual value per se began with the process of translation of non~Arab texts, mainly Greek trearises on music. Under Caliph al-Ma'mlln (813-33), the process of accumulating and translaring Greek scientific and philosophic books reached its culmination and becamı~ a well-organized activity. The Institute of Science- Bayt al-hikma- created by al-Ma'mfuı and established at the huge government-sup.ported library in Baghdad, became a centre of transla­ tion into Arabic. Among the most active translators were the Nestorian Christian from al-J:Ilra, J:Iunayn ibn IsJıiiq (d. 873); his son Is~iiq (d. 911); and the distinguished mathematician and astrologer Thabit ibn Qurra (a member ofthe pagan commuriity ofJ:Iarriin) (d. 901). Consequently, a large corpus of Greek scientific and philosophical writings was thereafter wirbin reach of Arabic-reading scholars.
    [Show full text]
  • Music Theory from Wikipedia, the Free Encyclopedia
    Music theory From Wikipedia, the free encyclopedia Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music. Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonance, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production.[2] A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used. The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts.
    [Show full text]
  • AN EXPLORATION of the KEY CHARACTERISTICS in BEETHOVEN's PIANO SONATAS and SELECTED INSTRUMENTAL REPERTOIRE Dimitri Papadimit
    AN EXPLORATION OF THE KEY CHARACTERISTICS IN BEETHOVEN’S PIANO SONATAS AND SELECTED INSTRUMENTAL REPERTOIRE Dimitri Papadimitriou Dissertation submitted to Dublin City University in partial fulfilment of the requirements for the degree Doctor of Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr. Denise Neary July 2013 Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Music Performance, is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_____________________________ ID No.:_____________ Date: _______________ Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis
    [Show full text]
  • Beethoven's Compositional Approach to Multi-Movement Structures in His
    Beethoven’s Compositional Approach to Multi-Movement Structures in his Instrumental Works A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2013 ERICA BUURMAN SCHOOL OF ARTS, LANGUAGES AND CULTURES Contents List of Tables................................................................................................................ 6 List of Music Examples ............................................................................................... 7 Abstract ...................................................................................................................... 11 Declaration ................................................................................................................. 12 Copyright Statement .................................................................................................. 13 Acknowledgements .................................................................................................... 14 Abbreviations ............................................................................................................. 15 Note on the Transcriptions ......................................................................................... 17 Chapter 1—Introduction ............................................................................................ 18 1.1—Aims .............................................................................................................. 18 1.2—Contexts .......................................................................................................
    [Show full text]
  • Music Theory - Wikipedia, the Free Encyclopedia Music Theory from Wikipedia, the Free Encyclopedia
    1/28/2016 Music theory - Wikipedia, the free encyclopedia Music theory From Wikipedia, the free encyclopedia Music theory is the study of the practices and possibilities of music. It generally derives from observation of, and involves hypothetical speculation about how musicians and composers make music. The term also describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, and refers to descriptions, concepts, or beliefs related to music. Because of the ever­expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music. The present article is about music theory properly speaking, i.e. about theories, speculations and hypotheses made about the various aspects or music. It describes the elements of music only insofar as they give way to such theories; other informations about these elements will be found in other articles such as Aspect of music and the specific parameters of music described Pythagoras and Philolaus engaged in there. Textbooks, especially in the United States of America, theoretical investigations, in a often also include under the term "theory" elements of musical woodcut from Franchinus Gaffurius, acoustics, considerations of musical notation, techniques of Theorica musicæ (1492) (often tonal) composition (Harmony and Counterpoint), etc., which will not be dealt with as such here, but only as they were the subject of theories and hypotheses. Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities.
    [Show full text]
  • Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals by © 2019 Christopher W
    A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals By © 2019 Christopher W. Gage Submitted to the graduate degree program in Music Theory and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _____________________________ Chair: Scott Murphy _____________________________ Michael Bauer _____________________________ Bradley Osborn _____________________________ Roberta Schwartz _____________________________ William Keel Date Defended: 14 May 2019 The dissertation committee for Christopher W. Gage certifies that this is the approved version of the following dissertation: A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals _____________________________ Chair: Scott Murphy Date Approved: 14 May 2019 ii ABSTRACT One of the most widely used approaches in tonal music, variation technique has informed centuries of composition. Beginning with Jan Pieterszoon Sweelinck, the Baroque keyboard variation set was a prominent form; one particular multimovement variation set, commonly called the “partita,” included various treatments of a given theme, sacred or secular, in a display of compositional variety. One treatment occurs with some regularity and involves a harmonization of a chorale tune in which chromaticism is pervasive, having a non-diatonic note on every beat or including key areas that are more distant than was customary. This dissertation explores the chromatic variation with one broad question: how is this chromaticism generated? Are there particular aspects of a chorale melody that give rise to this treatment? What are the main compositional techniques that constitute a chromatic movement? Using detailed analyses of four pieces—Johann Sebastian Bach, O Gott du frommer Gott, BWV 767/7; Johann Pachelbel, Was Gott tut, das ist wohlgetan, variation 4; Pachelbel, Alle Menschen müßen sterben, var.
    [Show full text]