The Intonation Systems of Harry Partch
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The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA. -
Kisd Band Ms 3 Curriculum Year at a Glance
KISD BAND MS 3 CURRICULUM YEAR AT A GLANCE TEXT: Essential Elements for Band THE LEARNER WILL: 1st 9-Weeks 2nd 9-Weeks 3rd 9-Weeks 4th 9-Weeks Identify, define, write, and analyze whole, half, quarter, paired and single Identify, define, write, and analyze all previously learned elements adding eighth, sixteenth, dotted half, and dotted quarter notes with corresponding 9/8, 12/8, and 5/4 time signatures and the keys of G and Db. (1B, 1D, 1C, rests in simple time and dotted quarters and triplets in compound time; 2B, 3F) multi-measure rests; repeat, first and second endings, da capo al fine, dal segno al fine, da capo al coda, dal segno al coda; dynamics (pp-ff); staccato, Identify, define, write and analyze all previously learned elements in addition to the following: largo-presto, sforzando, fortepiano, chord structures legato, accent, marcato; crescendo, decrescendo; 2/4, 3/4 ,4/4, 2/2, 6/8; keys and tuning in a major key. (1B, 1D, 1C, 2B, 3F) of Bb, Eb, F; instrument names; musical forms; fermata; andante, moderato, ritardando, accelerando, largo, adagio, allegro. (1B, 1D, 1C, 2B, 3F) Perform a 2 octave chromatic scale with correct pitch, fingerings, and Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, accurate intonation. (1B) fingerings, and accurate intonation (quarter = 80bpm utilizing an eighth fingerings and accurate intonation (quarter = 100bpm utilizing an eighth fingerings, and accurate intonation (quarter = 100bpm utilizing a triplet note pattern). -
The Baroque. 3.3: Vocal Music: the Da Capo Aria and Other Types of Arias
UNIT 3: THE BAROQUE. 3.3: VOCAL MUSIC: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS EXPLANATION 3.3: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS. THE ARIA The aria in the operas is the part sung by the soloist. It is opposed to the recitative, which uses the recitative style. In the arias the composer shows and exploits the dramatic and emotional situations, it becomes the equivalent of a soliloquy (one person speach) in the spoken plays. In the arias, the interpreters showed their technique, they showed off, even in excess, which provoked a lot of criticism from poets and musicians. They were often sung by castrati: soprano men undergoing a surgical operation so as not to change their voice when they grew up. One of them, the most famous, Farinelli, acquired international fame for his great technique and vocal expression. He lived twenty-five years in Spain. THE DA CAPO ARIA The Da Capo aria is a vocal work in three parts or sections (tripartite form). It began to be used in the Baroque in operas, oratorios and cantatas. The form is A - B - A, the last part being a repetition of the first. 1. The first section is a complete musical entity, that is to say, it could be sung alone and musically it would have complete meaning since it ends in the tonic. The tonic is the first grade or note of a scale. 2. The second section contrasts with the first section in tonality, texture, mood and sometimes in tempo (speed). 3. -
Download the Just Intonation Primer
THE JUST INTONATION PPRIRIMMEERR An introduction to the theory and practice of Just Intonation by David B. Doty Uncommon Practice — a CD of original music in Just Intonation by David B. Doty This CD contains seven compositions in Just Intonation in diverse styles — ranging from short “fractured pop tunes” to extended orchestral movements — realized by means of MIDI technology. My principal objectives in creating this music were twofold: to explore some of the novel possibilities offered by Just Intonation and to make emotionally and intellectually satisfying music. I believe I have achieved both of these goals to a significant degree. ——David B. Doty The selections on this CD process—about synthesis, decisions. This is definitely detected in certain struc- were composed between sampling, and MIDI, about not experimental music, in tures and styles of elabora- approximately 1984 and Just Intonation, and about the Cageian sense—I am tion. More prominent are 1995 and recorded in 1998. what compositional styles more interested in result styles of polyphony from the All of them use some form and techniques are suited (aesthetic response) than Western European Middle of Just Intonation. This to various just tunings. process. Ages and Renaissance, method of tuning is com- Taken collectively, there It is tonal music (with a garage rock from the 1960s, mendable for its inherent is no conventional name lowercase t), music in which Balkan instrumental dance beauty, its variety, and its for the music that resulted hierarchic relations of tones music, the ancient Japanese long history (it is as old from this process, other are important and in which court music gagaku, Greek as civilization). -
HSK 6 Vocabulary List
HSK 6 Vocabulary List No Chinese Pinyin English HSK 1 呵 ā to scold in a loud voice; to yawn HSK6 to suffer from; to endure; to tide over (a 2 挨 āi HSK6 difficult period); to delay to love sth too much to part with it (idiom); 3 爱不释手 àibùshìshǒu HSK6 to fondle admiringly 4 爱戴 àidài to love and respect; love and respect HSK6 5 暧昧 àimèi vague; ambiguous; equivocal; dubious HSK6 hey; ow; ouch; interjection of pain or 6 哎哟 āiyō HSK6 surprise 7 癌症 áizhèng cancer HSK6 8 昂贵 ángguì expensive; costly HSK6 law case; legal case; judicial case; 9 案件 ànjiàn HSK6 CL:宗[zong1],樁|桩[zhuang1],起[qi3] 10 安居乐业 ānjūlèyè live in peace and work happily (idiom) HSK6 11 案例 ànlì case (law); CL:個|个[ge4] HSK6 12 按摩 ànmó massage HSK6 13 安宁 ānníng peaceful; tranquil; calm; composed HSK6 14 暗示 ànshì to hint; to suggest; suggestion; a hint HSK6 15 安详 ānxiáng serene HSK6 find a place for; help settle down; arrange 16 安置 ānzhì HSK6 for; to get into bed; placement (of cooking) to boil for a long time; to 17 熬 áo HSK6 endure; to suffer 18 奥秘 àomì profound; deep; a mystery HSK6 bumpy; uneven; slotted and tabbed joint; 19 凹凸 āotú HSK6 crenelation to hold on to; to cling to; to dig up; to rake; 20 扒 bā to push aside; to climb; to pull out; to strip HSK6 off 21 疤 bā scar HSK6 to be eager for; to long for; to look forward 22 巴不得 bābudé HSK6 to the Way of the Hegemon, abbr. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
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 .............................................................. -
Early Experimental and Electronic Music
Early Experimental and Electronic Music Today you will listen to early experimental and electronic music composed in the 1930s, ‘40s, and ‘50s. Think about the following questions as you listen to the music. 1. One of your listening assignments, “Valse Sentimentale,” is played by Clara Rockmore, a virtuoso on the theremin, an early electronic instrument. Look at the YouTube videos of Theremin and Clara Rockmore playing the theremin. How is the instrument played? Why has it been used only infrequently as a serious musical instrument? 2. When was the theremin developed and who was its inventor? 3. As an additional listening assignment, listen to “Good Vibrations” by the Beach Boys (in the listening for Monday). Where do you hear an electro-theremin, which is similar to the theremin, but easier to play? 4. What are the connections between the theremin and modern-day synthesizers? 5. What instrument is being played in “Oriason?” From your reading, what is unusual about the use of this instrument in this recording? 6. Watch the YouTube video of Thomas Bloch playing Messian piece on the Ondes-Martenot. How does is this instrument similar to but yet different from a piano? What does it have in common with the theremin. 6. People often think that experimental music is difficult and not beautiful. Is that true of all the music in these lessons? Is it true sometimes? Give examples. 7. The well-tempered scale usually used in Western music has 12 pitches in an octave. Well-tempered scale (12 pitches in an octave) In the section on Partch in Gann’s American Music in the Twentieth Century, Partch is said to have rebelled against the “acoustic lie” of the well-tempered scale. -
Partch 43 Tone Scale © Copyright Juhan Puhm 2016 Puhm Juhan Copyright © Scale Tone 43 Partch N Our Door with Our Common Scales
! "#$!%&'()#! *+!",-$!.)&/$! ! ! ! 01#&-!%1#2 !!! "#$!%&'()#!*+!",-$!.)&/$"#$!%&'()#!*+!",-$!.)&/$!!!! One can only imagine the years Harry Partch spent formulating his 43 tone scale and then the lifetime spent realizing it. A pinnacle of Just Intonation, a fair bit of time can be spent unraveling the intricacies of the 43 tone scale and coming to terms with the choices Partch made. What are some of the features of this scale? For starters the scale is a pure Just Intonation scale, no tempering of any intervals whatsoever. All pitches are given exact ratios and so all intervals are exact as well. For the most part all the music we listen to is constructed of up to 5 limit ratios. Partch expanded our common tonality to include 7 and 11 limit ratios. It can be argued that 2, 3 and 5 limit ratios are the language of harmony and any higher limit ratios are not harmonic in the least bit, regardless of what people would like to pretend. Possibly some 7 limit ratios can be said to push the bounds of what can be considered harmonic. Since our current 12 note scale and instruments do not even remotely support or approximate any 7 or 11 limit ratios, 7 and 11 limit ratios are completely outside the realm of our listening and composing experience. The equal tempered tritone and minor seventh intervals do not approximate 7 limit ratios. It would be incorrect to think of the minor seventh approximating the 7 limit ratio of 7/4, which is almost one-third of a semitone lower (969 cents). Our tempered minor seventh (1000 cents) is firmly in the realm of two perfect fourths (4/3 * 4/3 = 16/9, (996 cents)) or further removed, a minor third above the dominant (3/2 * 6/5 = 9/5 (1018 cents)). -
MTO 25.1 Examples: Willis, Comprehensibility and Ben Johnston’S String Quartet No
MTO 25.1 Examples: Willis, Comprehensibility and Ben Johnston’s String Quartet No. 9 (Note: audio, video, and other interactive examples are only available online) http://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.willis.html Example 1. Partch’s 5-limit tonality diamond, after Partch (1974, 110) also given with pitch names and cent deviations from twelve-tone equal temperament Example 2. Partch’s 11-limit tonality diamond, after Partch (1974, 159) Example 3. The just-intoned diatonic shown in ratios, cents, and on a Tonnetz Example 4. Johnston’s accidentals, the 5-limit ration they inflect, the target ratio they bring about, their ratio and cent value. As an example of how this table works, take row 11. If we multiply 4:3 by 33:32 it sums to 11:8. This is equivalent to raising a perfect fourth by Johnston’s 11 chroma. Example 5. The overtone and undertone series of C notated using Johnston’s method Example 6. A Tonnetz with the syntonic diatonic highlighted in grey. The solid lines connect the two 5-limit pitches that may be inflected to produce a tonal or tonal seventh against the C. This makes clear why the tonal seventh of C is notated as lowered by a syntonic comma in addition to an inverse 7 sign. It is because the pitch is tuned relative to the D- (10:9), which is a syntonic comma lower than the D that appears in the diatonic gamut. Example 7. Johnston, String Quartet No. 9/I, m. 109. A comma pump progression shown with Roman Numerals and a Tonnetz. -
Tuning: at the Grcssroads
WendyGarloo ?O. Box1024 Tuning:At the New YorkCit, New York 10276USA Grcssroads lntrodrciion planned the construction of instruments that per- formed within the new "tunitrg of choice," and all The arena o{ musical scales and tuning has cer_ publishedpapers or books demonstretingthe supe- tainly not been a quiet place to be for the past thlee dority of their new scales in at least some way over hundred yeals. But it might iust as well have beenif €qual temperament.The tradition has continued we iudge by the results: the same 12V2 equally with Yunik and Swi{t {1980),Blackwood (1982),and temperedscale established then as the best avail- the presentauthor (Milano 1986),and shows no able tuning compromise, by J. S. Bach and many sign of slowing down despite the apparent apathy otheis lHelrnholtz 1954j Apel 1972),remains to with which the musical mainstream has regularly this day essentially the only scale heard in Westem grceted eech new proposal. music. That monopoly crossesall musical styles, of course therc's a perf€ctly reasonable explana- {rom the most contemporary of jazz and av^rf,t' tion lor the mainstream's evident preferetrce to rc- "rut-bound" gardeclassical, and musical masteeieces from the main when by now there are at least past, to the latest technopop rock with fancy s)'n- a dozen clearly better-sounding ways to tune our thesizers,and everwvherein between.Instruments scales,i{ only for at least part of the time: it re' ol the symphonyorchestra a((empr with varyirrg quires a lot of effort ol several kinds. I'm typing this deSreesof successto live up ro lhe 100-centsemi manuscript using a Dvorak keyboard (lor the ffrst tone, even though many would find it inherently far time!), and I assureyou it's not easyto unlearn the easierto do otherwise: the stdngs to "lapse" into QWERTY habits of a lifetime, even though I can Pythagoieen tuning, the brass into several keys of akeady feel the actual superiodty of this unloved lust irtonation lBarbour 1953).And th€se easily but demonstrablv better kevboard. -
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION in MUSIC
Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION IN MUSIC: AN ANTHOLOGY Artistic Experimentation in Music: an Anthology Edited by Darla Crispin and Bob Gilmore Leuven University Press Table of Contents 9 Introduction Darla Crispin and Bob Gilmore Section I Towards an Understanding of Experimentation in Artistic Practice 23 Five Maps of the Experimental World Bob Gilmore 31 The Exposition of Practice as Research as Experimental Systems Michael Schwab 41 Epistemic Complexity and Experimental Systems in Music Performance Paulo De Assis 55 Experimental Art as Research Godfried-Willem Raes 61 Tiny Moments of Experimentation: Kairos in the Liminal Space of Performance Kathleen Coessens 69 The Web of Artistic Practice: A Background for Experimentation Kathleen Coessens 83 Towards an Ethical-Political Role for Artistic Research Marcel Cobussen 91 A New Path to Music: Experimental Exploration and Expression of an Aesthetic Universe Bart Vanhecke 105 From Experimentation to Construction Richard Barrett 111 Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day: A Report Michael Schwab 5 Table of Contents Section II The Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation 129 Embodiment and Gesture in Performance: Practice-Based Perspectives Catherine Laws 141 Order Matters A Thought on How to Practise Mieko Kanno 147 Association-Based Experimentation as an Artistic Research Method Valentin Gloor 151 Association