DOCSLIB.ORG

Music Intervals Bingo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Intervals Bingo ♫ Music Intervals ♫ Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/nrgps Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/nrgps Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/nrgps Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms. Have Fun! If you have any feedback or suggestions, drop us an email on [email protected]. Bingo Caller's Card Use your Bingo Caller's Card to call the bingo and keep track of which words you have already called. Print two copies of the caller's card. Cut one copy up, fold the squares in half, and put them in a hat. To call the bingo, pull a square out of the hat, unfold it and read it out. When you have called a word/number, tick it off on the second copy of the caller's card. You can use the second copy of the caller's card to check if a player has a winning card during a game. Minor Major Minor Major Perfect Unison Second Second Third Third Fourth Perfect Minor Major Minor Major Tritone Fifth Sixth Sixth Seventh Seventh Octave Bingo Card ID 001 Bingo Card ID 002 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Major Perfect Perfect Minor Minor Major Sixth Fifth Unison Fourth Seventh Third Third Minor Major Major Major Minor Third Tritone Seventh Sixth Second Sixth Major Minor Major Third Seventh Octave Seventh Octave Minor Minor Major Perfect Minor Perfect Second Sixth Second Fourth Second Fifth Unison Tritone Bingo Card ID 003 Bingo Card ID 004 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Major Perfect Major Perfect Tritone Sixth Octave Sixth Fifth Seventh Fourth Major Perfect Major Major Third Fourth Tritone Unison Third Second Minor Minor Major Minor Minor Minor Second Seventh Unison Sixth Seventh Sixth Third Perfect Major Major Minor Minor Fifth Second Seventh Third Octave Second Bingo Card ID 005 Bingo Card ID 006 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Perfect Major Major Perfect Major Major Fifth Seventh Third Fifth Second Sixth Minor Minor Major Perfect Seventh Third Third Fourth Tritone Major Major Minor Minor Major Octave Second Sixth Sixth Octave Unison Seventh Seventh Minor Perfect Minor Minor Minor Tritone Second Fourth Unison Sixth Third Second Bingo Card ID 007 Bingo Card ID 008 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Major Minor Major Minor Minor Major Second Unison Second Sixth Third Seventh Second Major Minor Perfect Major Octave Third Third Fifth Seventh Tritone Perfect Minor Perfect Major Major Tritone Fifth Sixth Fourth Sixth Third Octave Major Minor Minor Minor Perfect Seventh Seventh Unison Second Sixth Fourth Bingo Card ID 009 Bingo Card ID 010 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Minor Perfect Major Minor Seventh Sixth Fourth Unison Second Second Major Major Perfect Major Perfect Seventh Sixth Octave Fifth Third Fourth Major Minor Major Minor Perfect Major Tritone Third Second Second Sixth Octave Fifth Seventh Minor Minor Major Minor Unison Third Third Sixth Seventh Tritone Bingo Card ID 011 Bingo Card ID 012 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Major Minor Major Sixth Tritone Tritone Second Third Minor Minor Perfect Perfect Minor Perfect Minor Major Seventh Second Fifth Fourth Sixth Fourth Third Sixth Major Perfect Octave Unison Second Octave Fifth Major Major Minor Minor Major Minor Major Seventh Third Third Sixth Second Seventh Seventh Unison Bingo Card ID 013 Bingo Card ID 014 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Major Minor Perfect Minor Major Major Seventh Seventh Sixth Fourth Sixth Seventh Octave Second Major Major Major Perfect Minor Major Second Sixth Tritone Third Fourth Third Tritone Third Minor Perfect Second Unison Fifth Unison Minor Perfect Major Minor Minor Third Octave Fifth Sixth Second Seventh Bingo Card ID 015 Bingo Card ID 016 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Minor Perfect Major Second Seventh Fifth Octave Tritone Third Perfect Major Perfect Perfect Fourth Sixth Tritone Fourth Unison Fifth Major Minor Major Minor Minor Minor Major Seventh Third Third Sixth Third Seventh Seventh Major Minor Minor Major Major Second Sixth Octave Unison Second Second Sixth Bingo Card ID 017 Bingo Card ID 018 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Perfect Major Major Major Tritone Fifth Seventh Sixth Octave Seventh Minor Minor Minor Perfect Perfect Second Seventh Sixth Fourth Tritone Unison Fifth Minor Perfect Minor Minor Minor Major Third Fourth Octave Seventh Sixth Third Third Major Major Major Minor Major Second Unison Third Sixth Second Second Bingo Card ID 019 Bingo Card ID 020 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Major Major Minor Major Perfect Third Third Second Sixth Third Fourth Tritone Minor Major Perfect Minor Perfect Octave Seventh Seventh Fourth Second Unison Fifth Major Minor Minor Minor Major Unison Sixth Second Seventh Third Octave Second Perfect Major Major Minor Fifth Tritone Sixth Seventh Sixth Bingo Card ID 021 Bingo Card ID 022 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Perfect Major Minor Unison Tritone Second Fifth Octave Seventh Sixth Major Major Major Perfect Seventh Second Sixth Fifth Unison Minor Major Minor Minor Major Perfect Sixth Third Seventh Third Second Fourth Perfect Minor Minor Major Minor Major Octave Fourth Third Seventh Sixth Second Tritone Third Bingo Card ID 023 Bingo Card ID 024 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Minor Major Major Minor Third Sixth Second Third Third Tritone Minor Major Minor Perfect Major Minor Seventh Octave Third Second Unison Fifth Seventh Second Perfect Major Perfect Minor Fourth Unison Seventh Tritone Fourth Seventh Octave Major Perfect Major Major Minor Sixth Fifth Second Sixth Sixth Bingo Card ID 025 Bingo Card ID 026 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Perfect Major Major Minor Minor Minor Major Fourth Seventh Second Seventh Second Sixth Third Minor Minor Minor Major Octave Sixth Third Octave Third Seventh Major Minor Major Perfect Perfect Tritone Sixth Second Second Fifth Unison Fourth Perfect Major Minor Major Fifth Unison Third Tritone Seventh Sixth Bingo Card ID 027 Bingo Card ID 028 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Perfect Minor Perfect Minor Major Major Fifth Second Fourth Third Third Second Major Major Major Minor Seventh Octave Second Tritone Seventh Seventh Minor Minor Minor Major Minor Perfect Seventh Tritone Unison Sixth Sixth Sixth Second Fourth Minor Major Major Perfect Third Sixth Third Octave Unison Fifth Bingo Card ID 029 Bingo Card ID 030 ♫ Music Intervals ♫ ♫ Music Intervals ♫ Minor Major Minor Major Third Seventh Second Unison Third Minor Major Major Minor Major Second Second Octave Sixth Tritone Third Seventh Minor Perfect Major Perfect Perfect Seventh Fourth Tritone Third Fifth Fourth Octave Major Minor Perfect Major Minor Minor Sixth Unison Sixth Fifth Second Sixth Seventh.
Load more

Recommended publications
  • Intervals and Transposition
    CHAPTER 3 Intervals and Transposition Interval Augmented and Simple Intervals TOPICS Octave Diminished Intervals Tuning Systems Unison Enharmonic Intervals Melodic Intervals Perfect, Major, and Minor Tritone Harmonic Intervals Intervals Inversion of Intervals Transposition Consonance and Dissonance Compound Intervals IMPORTANT Tone combinations are classifi ed in music with names that identify the pitch relationships. CONCEPTS Learning to recognize these combinations by both eye and ear is a skill fundamental to basic musicianship. Although many different tone combinations occur in music, the most basic pairing of pitches is the interval. An interval is the relationship in pitch between two tones. Intervals are named by the Intervals number of diatonic notes (notes with different letter names) that can be contained within them. For example, the whole step G to A contains only two diatonic notes (G and A) and is called a second. Figure 3.1 & ww w w Second 1 – 2 The following fi gure shows all the numbers within an octave used to identify intervals: Figure 3.2 w w & w w w w 1ww w2w w3 w4 w5 w6 w7 w8 Notice that the interval numbers shown in Figure 3.2 correspond to the scale degree numbers for the major scale. 55 3711_ben01877_Ch03pp55-72.indd 55 4/10/08 3:57:29 PM The term octave refers to the number 8, its interval number. Figure 3.3 w œ œ w & œ œ œ œ Octavew =2345678=œ1 œ w8 The interval numbered “1” (two notes of the same pitch) is called a unison. Figure 3.4 & 1 =w Unisonw The intervals that include the tonic (keynote) and the fourth and fi fth scale degrees of a Perfect, Major, and major scale are called perfect.
    [Show full text]
  • Frequency Ratios and the Perception of Tone Patterns
    Psychonomic Bulletin & Review 1994, 1 (2), 191-201 Frequency ratios and the perception of tone patterns E. GLENN SCHELLENBERG University of Windsor, Windsor, Ontario, Canada and SANDRA E. TREHUB University of Toronto, Mississauga, Ontario, Canada We quantified the relative simplicity of frequency ratios and reanalyzed data from several studies on the perception of simultaneous and sequential tones. Simplicity offrequency ratios accounted for judgments of consonance and dissonance and for judgments of similarity across a wide range of tasks and listeners. It also accounted for the relative ease of discriminating tone patterns by musically experienced and inexperienced listeners. These findings confirm the generality ofpre­ vious suggestions of perceptual processing advantages for pairs of tones related by simple fre­ quency ratios. Since the time of Pythagoras, the relative simplicity of monics of a single complex tone. Currently, the degree the frequency relations between tones has been consid­ of perceived consonance is believed to result from both ered fundamental to consonance (pleasantness) and dis­ sensory and experiential factors. Whereas sensory con­ sonance (unpleasantness) in music. Most naturally OCCUf­ sonance is constant across musical styles and cultures, mu­ ring tones (e.g., the sounds of speech or music) are sical consonance presumably results from learning what complex, consisting of multiple pure-tone (sine wave) sounds pleasant in a particular musical style. components. Terhardt (1974, 1978, 1984) has suggested Helmholtz (1885/1954) proposed that the consonance that relations between different tones may be influenced of two simultaneous complex tones is a function of the by relations between components of a single complex tone. ratio between their fundamental frequencies-the simpler For single complex tones, ineluding those of speech and the ratio, the more harmonics the tones have in common.
    [Show full text]
  • The Effects of Musical Intervals from Consonant to Dissonant on the Neural Activity of Earthworms
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2016 The Effects of Musical Intervals from Consonant to Dissonant on the Neural Activity of Earthworms Charley L. Weaver Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Biology Commons Recommended Citation Weaver, Charley L., "The Effects of Musical Intervals from Consonant to Dissonant on the Neural Activity of Earthworms" (2016). Theses and Dissertations. 305. https://csuepress.columbusstate.edu/theses_dissertations/305 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EFFECTS OF MUSICAL INTERVALS FROM CONSONANT TO DISSONANT ON THE NEURAL ACTIVITY OF EARTHWORMS Charley L. Weaver COLUMBUS STATE UNIVERSITY THE EFFECTS OF MUSICAL INTERVALS FROM CONSONANT TO DISSONANT ON THE NEURAL ACTIVITY OF EARTHWORMS A THESIS SUBMITTED TO THE HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR HONORS IN THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF BIOLOGY COLLEGE OF LETTERS AND SCIENCES BY CHARLEY L. WEAVER COLUMBUS, GEORGIA 2016 THE EFFECTS OF MUSICAL INTERVALS FROM CONSONANT TO DISSONANT ON THE NEURAL ACTIVITY OF EARTHWORMS By Charley L. Weaver A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements For Honors in the Degree of BACHELOR OF ARTS BIOLOGY COLLEGE OF LETTERS AND SCIENCES Thesis Advisor Date Dr. Kathleen Hughes Committee Member Date Dr. Susan Tomkiewicz Honors College Dean ABSTRACT Music is generated through vibrations of a medium creating what is perceived as tone.
    [Show full text]
  • Consonance & Dissonance
    UIUC Physics 406 Acoustical Physics of Music Consonance & Dissonance: Consonance: A combination of two (or more) tones of different frequencies that results in a musically pleasing sound. Why??? Dissonance: A combination of two (or more) tones of different frequencies that results in a musically displeasing sound. Why??? n.b. Perception of sounds is also wired into (different of) our emotional centers!!! Why???/How did this happen??? The Greek scholar Pythagoras discovered & studied the phenomenon of consonance & dissonance, using an instrument called a monochord (see below) – a simple 1-stringed instrument with a movable bridge, dividing the string of length L into two segments, x and L–x. Thus, the two string segments can have any desired ratio, R x/(L–x). (movable) L x x L When the monochord is played, both string segments vibrate simultaneously. Since the two segments of the string have a common tension, T, and the mass per unit length, = M/L is the same on both sides of the string, then the speed of propagation of waves on each of the two segments of the string is the same, v = T/, and therefore on the x-segment of string, the wavelength (of the fundamental) is x = 2x = v/fx and on the (L–x) segment of the string, we have Lx = 2(L–x) = v/fLx. Thus, the two frequencies associated with the two vibrating string segments x and L – x on either side of the movable bridge are: v f x 2x v f Lx 2L x - 1 - Professor Steven Errede, Department of Physics, University of Illinois at Urbana-Champaign, Illinois 2002 - 2017.
    [Show full text]
  • MUSIC THEORY UNIT 4: Intervals an Interval Is the Musical Distance Between Two Pitches
    MUSIC THEORY UNIT 4: Intervals An interval is the musical distance between two pitches. The distance is labeled with two labels, the numeric distance and the quality term. Numerical Terms: Counted distance between the two given notes, (note* count the given pitch at the bottom of the interval as ONE) unison or prime 1 second 2 third 3 fourth 4 fifth 5 sixth 6 seventh 7 octave 8 Qualitative Terms: unison, fourth, fifth, octave augmented + perfect P diminished o second, third, sixth, seventh augmented + major M minor m diminished o AUGMENTED intervals are a ½ step bigger than PERFECT (for 1,4,5,8) or MAJOR (2,3,6,7) MINOR intervals are a ½ step smaller than MAJOR (for 2,3,6,7) DIMINISHED intervals are a ½ step smaller than PERFECT (1,4,5,8) OR MINOR (2,3,6,7) Labeling Melodic Intervals One easy way to correctly label intervals is to memorize those found in a major scale and to then derive others from these. Scale degrees: 1 up to 2 = M2 1 up to 3 = M3 1 up to 4 = P4 1 up to 5 = P5 1 up to 6 = M6 1 up to 7 = M7 1 up to 8 = P8 (octave) IMPORTANT CONCEPT: In a MAJOR scale, moving from the root note of the key to another note above it will produce intervals that are either MAJOR INTERVALS or PERFECT INTERVALS. USE THIS INFORMATION TO FIGURE OUT ANY GIVEN OR REQUESTED INTERVAL Follow the procedure below to practice: Step 1: Determine the numeric distance between the two notes.
    [Show full text]
  • 11 – Music Temperament and Pitch
    11 – Music temperament and pitch Music sounds Every music instrument, including the voice, uses a more or less well defined sequence of music sounds, the notes, to produce music. The notes have particular frequencies that are called „pitch“ by musicians. The frequencies or pitches of the notes stand in a particular relation to each other. There are and were different ways to build a system of music sounds in different geographical regions during different historical periods. We will consider only the currently dominating system (used in classical and pop music) that was originated in ancient Greece and further developed in Europe. Pitch vs interval Only a small part of the people with normal hearing are able to percieve the absolute frequency of a sound. These people, who are said to have the „absolute pitch“, can tell what key has been hit on a piano without looking at it. The human ear and brain is much more sensitive to the relations between the frequencies of two or more sounds, the music intervals. The intervals carry emotional content that makes music an art. For instance, the major third sounds joyful and affirmative whereas the minor third sounds sad. The system of frequency relations between the sounds used in music production is called music temperament . 1 Music intervals and overtone series Perfect music intervals (that cannot be fully achieved practically, see below) are based on the overtone series studied before in this course. A typical music sound (except of a pure sinusiodal one) consists of a fundamental frequency f1 and its overtones: = = fn nf 1, n 3,2,1 ,..
    [Show full text]
  • Byzantine Chant Theory and Practice in the Light of Ancient Greek Music Theory and Occicentrism by Amine Beyhom Foredofico
    IMS-RASMB, Series Musicologica Balcanica 1.1, 2020. e-ISSN: 2654-248X Byzantine Chant Theory and Practice in the Light of Ancient Greek Music Theory and Occicentrism by Amine Beyhom Foredofico Click here for musical examples or see the online Abstract page of the article → left column, Article Tools → Supplementary files DOI: https://doi.org/10.26262/smb.v1i1.7629 ©2020 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc-nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non- commercial and no modifications or adaptations are made. Beyhom, Byzantine Chant Theory and Practice… Byzantine Chant Theory and Practice in the Light of Ancient Greek Music Theory and Occicentrism1 Amine Beyhom “The Pythagoreans’ opinion that the planets and the stars, while following their course, produce sounds which combine harmonically is erroneous. In Physics, it is proven that their hypothesis is impossible, that the movement of heavenly bodies can generate no sound at all. Nearly everything that concerns music theory is a product of the Art, and foreign to Nature” Shaykh Abū-n-Naṣr al-Fārābī,2 The Great Book of Music Abstract: Ancient Greek music theory comprises a large body of speculations which are not necessarily related to how music practice was really carried out at the time. This complex set of theories was reduced by 19th-20th centuries scholars to a ditonic – as for two whole tones in a Just fourth – substrate for many reasons, the first of which being the legitimation of Western music and its alleged Ancient Greek affiliation.
    [Show full text]
  • Note, Pitch, Scale, Melody, Harmony, Chord, Score, Orchestration, Instrumentation, Overture, Aria, Recitative, Finale, Beat, Pulse, Octave
    MUSIC AND COMPOSITION GLOSSARY CATEGORIES Composition: note, pitch, scale, melody, harmony, chord, score, orchestration, instrumentation, overture, aria, recitative, finale, beat, pulse, octave Writing: couplet, rhyming couplet, haiku, story, plot, narrative, libretto, dialogue, character, protagonist, antagonist, setting, detail Organizing words and music: stanza, phrase, chorus, refrain, form, key, ostinato, obbligato Organizing time: meter, rhythm, tempo, measure, time signature, largo, andante, allegro, accelerando, ritardando, rubato, fermata Notation: staff, treble clef, bass clef, whole note/rest, half note/rest, quarter note/rest, eighth note/rest, sixteenth note/rest, triplet, rest, fine, key signature Sounds: timbre, tone color Dynamics: legato, staccato, pianissimo, piano, forte, fortissimo, crescendo, diminuendo, decrescendo Singing: melisma, cadenza, improvisation, ornamentation, range, tessitura, solfège Vocal ranges: soprano, mezzo-soprano, contralto, tenor, baritone, bass Voicings: solo, duo, duet, trio, quartet, quintet, sextet, septet, octet, ensemble, chorus, tutti, unison DEFINITIONS accelerando: gradually becoming faster allegro: quick tempo, cheerful andante: moderate tempo antagonist: the chief opponent of the protagonist in a drama aria: lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion baritone: a male singer with a middle tessitura bass: a male singer with a low tessitura bass clef: a symbol placed at the beginning of the lower staff to indicate the pitch of the notes
    [Show full text]
  • Intervals Scales Tuning*
    7 INTERVALS SCALES AND TUNING* EDWARD M. BURNS Department of Speech and Hearing Sciences University of Washington Seattle, Washington !. INTRODUCTION In the vast majority of musical cultures, collections of discrete pitch relation- shipsmmusical scales--are used as a framework for composition and improvisa- tion. In this chapter, the possible origins and bases of scales are discussed, includ- ing those aspects of scales that may be universal across musical cultures. The perception of the basic unit of melodies and scales, the musical interval, is also addressed. The topic of tuningmthe exact relationships of the frequencies of the tones composing the intervals and/or scales~is inherent in both discussions. In addition, musical interval perception is examined as to its compliance with some general "laws" of perception and in light of its relationship to the second most important aspect of auditory perception, speech perception. !!. WHY ARE SCALES NECESSARY? The two right-most columns of Table I give the frequency ratios, and their val- ues in the logarithmic "cent" metric, for the musical intervals that are contained in the scale that constitutes the standard tonal material on which virtually all Western music is based: the 12-tone chromatic scale of equal temperament. A number of assumptions are inherent in the structure of this scale. The first is that of octave equivalence, or pitch class. The scale is defined only over a region of one octave; tones separated by an octave are assumed to be in some respects musically equiva- lent and are given the same letter notation (Table I, column 3). The second is that pitch is scaled as a logarithmic function of frequency.
    [Show full text]
  • Interval Size: the Size Is an Arabic Number
    Dr. Barbara Murphy University of Tennessee School of Music INTERVALS An INTERVAL is the distance between two notes /pitches. Intervals are named by size and quality: Interval Size: The size is an Arabic number. (e.g., 1, 2, 3, 4) To determine the size, count the note names between the two notes given (inclusive). Interval Quality: The possible qualities are major, minor, perfect, diminished, and augmented. Intervals that are 2, 3, 6, or 7 in size (or their multiples) can be major (M), minor (m), diminished (d) or augmented (A). These intervals can never be perfect. Intervals that are 1, 4, 5, or 8 (or their multiples) in size can be perfect (P), diminished (d)`or augmented (A). These intervals can never be major or minor. Intervals are: perfect if: (1) the top note is in the major key of the bottom note AND (2) the bottom note is in the major key of the top note. major if the top note is in the major key of the bottom note. minor if it is a half step smaller than major. diminished if it is a half step smaller than minor or perfect. augmented if it is a half step larger than major or perfect. COMPOUND INTERVALS: Compound intervals are intervals larger than an octave. Compound intervals are functionally the same as the corresponding simple intervals (those an octave or less in size). Thus, a 9th is a compound 2nd, a 10th is a compound 3rd, an 11th is a compound 4th, a 12th is a compound 5th, etc. We normally refer to only 9th through 12ths as compound intervals.
    [Show full text]
  • The Structure of Plato's Dialogues and Greek Music Theory: a Response to J
    The Structure of Plato's Dialogues and Greek Music Theory: A Response to J. B. Kennedy The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mckay, John Z., and Alexander Rehding. 2011. “The Structure of Plato’s Dialogues and Greek Music Theory: A Response to J. B. Kennedy.” Apeiron 44, no. 4. Published Version doi:10.1515/apeiron.2011.021 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:12712855 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP The Structure of Plato’s Dialogues and Greek Music Theory: A Response to J. B. Kennedy John Z. McKay and Alexander Rehding In his recent article, “Plato’s Forms, Pythagorean Mathematics, and Stichometry,” J. B. Kennedy suggests a new stichometric reading of the Platonic dialogues that follows a secret musical code. Kennedy argues in his central claim: The twelve-part structure of the dialogues detected above together with the prominence of the number twelve in Greek music theory suggests that the stichometric structure of the dialogues is a musical scale. Plato used this musical scale as an outline, pegging key concepts and turns in the argument to steps in the scale. (pp. 16-17) This idea is of considerable interest to music historians. As music theorists, we welcome this innovative interpretation, not least because of the attention it gives to Ancient Greek music theory—an area of study that is as marginal within modern musicology as it is within classical studies.
    [Show full text]
  • COMPUTATIONAL ANALYSIS of QUARTER-TONE COMPOSITIONS by CHARLES IVES and IVAN WYSCHNEGRADSKY a Thesis Submitted to the College Of
    COMPUTATIONAL ANALYSIS OF QUARTER-TONE COMPOSITIONS BY CHARLES IVES AND IVAN WYSCHNEGRADSKY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Andrew M. Blake May 2020 Table of Contents Page List of Figures ................................................................................................................................. v List of Tables ................................................................................................................................. vi CHAPTER I .................................................................................................................................... 1 INTRODUCTION .......................................................................................................................... 1 The Quarter-Tone System ........................................................................................................... 1 Notation and Intervals ............................................................................................................. 2 Ives’ Some Quarter-Tone Impressions ........................................................................................ 4 Wyschnegradsky’s Manual of Quarter-Tone Harmony .......................................................... 6 Approaches to Analysis of Quarter-Tone Music ....................................................................... 10 The Place of Quarter-Tones in the Harmonic Series ................................................................
    [Show full text]