An Interactive Physical Environment to Learn Tonal Melody Accompaniment
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Wiley John Williams, BM
1-- q ASPECTS OF IDIOMATIC HARMONY IN THE HARPSICHORD SONATAS OF DOMENICO SCARLATTI THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Wiley John Williams, B. M. Denton, Texas June, 1961 TABLE O CONTENTS Page Lr3 ISTRTIOS. .. .. .. .. iy Chapter I. BI10GRAPHY. a . II. THE STYLE OF THE SONATAS . 8 III. HA2MOSIC 3TYE -. - . 12 Modality Leading Tone Functions of Lower Neighbor Tones Modulation Cyclic Modulation Unprepared Modulation General Types of Dissonance Polychordal Progressions Dissonance Occurring in Modulation Extended 'ertal Harmony Permutating Contrapuntal Combinations IV. CONCLUSIONI.. .a. .a. ... ,. 39 ,IBLI RAP HY . .a .. a . .. 0.0. .0 .0 .. 0 .0 .0 .. .. 41 iii LIST OF ILLUSTRATIONS Figure Page 1. Longo 180--iv-V Phrygian Cadence . 14 2. Longo 202--Parallel Fifths Between iv and V . - - -. 15 Chords -. " - - - - - - - - 3. Longo 273--Modulating Figure Based on Phrygian Cadence. - . 15 4. Longo 257--Resembles Pure Phrygian Mode. 16 5. Longo 260--Phrygian Cadence and Dominant Pedal 17 6. Longo 257--Major and Minor Scale in Contrary Motion . " . 17 7. Long 309--Leading Tone Effect on I, IV, V . 18 8. Longo 309--Leading Tone Effect on I and II . 19 9. Long 342--Non-harmonic Tones are Turning Points of Scale Motion . 20 10. Longo 273--Raised Fourth Degree Delays Upper Voice Progress . 21 11. Longo 281--Alterations Introduce Modulation. 22 12. Longo 178--Raised Fourth Scale Degree. 22 13. Longo 62--Upper Harmonic Minor Tetrachords . 23 14. Longo 124--Raised Lower Neighbor Tones and Principal Tones Produce Melody. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
The Harmony of Debussy in Contemporary Jazz Brigham
THE HARMONY OF DEBUSSY IN CONTEMPORARY JAZZ BRIGHAM PHILLIPS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY, 2018 © BRIGHAM PHILLIPS, 2018 ABSTRACT Claude Debussy and other late 19th-century composers (especially Maurice Ravel) introduced several new harmonic innovations that have since become standard tools of the jazz composer/arranger/improviser, among them the rich harmonies of chromatically altered chords as well as the use of the whole tone, pentatonic and octatonic scales. This thesis presents an original composition The Stanley Bridge Suite that demonstrates how these harmonic concepts are used in modern orchestral jazz. A brief history of impressionism is included, followed by a chapter showing the increasing prevalence of impressionist harmony in jazz over the years. Because The Stanley Bridge Suite was arranged for an orchestral jazz ensemble the makeup of the modern jazz orchestra is also discussed. The final chapter analyzes the thesis composition in detail, showing where and how the various Debussy techniques were incorporated in the work. ii ACKNOWLEDGEMENTS I would like to thank Professors Al Henderson and Dr. Mark Chambers for their guidance and assistance. I would also like to acknowledge and thank my parents for giving me the gift of music and encouraging my choice to make a living as a professional musician. My father, recently deceased, always hoped I would pursue a Masters Degree in Music one day. Finally, I would like to thank my wife, daughter and son for encouraging me to go on this Masters journey and for putting up with my frequent absence from their lives while doing so. -
La Cathédrale Engloutie from Wikipedia, the Free Encyclopedia
La cathédrale engloutie From Wikipedia, the free encyclopedia La cathédrale engloutie (The Sunken Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. The "organ chords" feature parallel harmony. Contents 1 Musical impressionism 2 Legend of Ys 3 Musical analysis 3.1 Form 3.2 Thematic/motivic structure 3.3 Context 3.4 Parallelism 4 Secondary Parameters 5 Arrangements 6 Notes 7 External links Musical impressionism This prelude is an example of Debussy's musical impressionism in that it is a musical depiction, or allusion, of an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like La Mer, Des pas sur la neige, or Jardins sous la pluie. In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion. [1] Because this piece is based on a legend, it can be considered program music. Legend of Ys This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. -
Prelude a L'apres Midi D'un Faune
DEBUSSY Prelude a l'apres midi d'un faune Project Pack Key Stage 3 Introduction This pack is designed to help you use Debussy’s Prelude a l’apres midi d’un faune (The Afternoon of a Faun) in the classroom as a creative tool via LSO Play. Written in 1894 and inspired by the symbolist poem of the same name, Debussy’s piece was immediately hailed as a new direction in music. Later, composers such as Leonard Bernstein and Pierre Boulez pinpointed its premiere as the exact moment that modern music began. Watching the performance of this piece on LSO Play will give your class the opportunity to see this sublime piece played up-close in a wonderfully rich performance filmed at the Barbican Centre in April 2017, under the baton of Francois-Xavier Roth. We’ve included below a full guide to Debussy’s unique musical world, a detalied analysis of his prelude which cross-references to the performance and a step-by-step creative project will help your students to re-create some of the famous moments from the score using Debussy’s ideas as a starting point Claude Debussy (1862 – 1918) Claude Debussy grew up in Paris. He was born in 1862 to humble, ordinary non-musical parents. His father was a shopkeeper and his mother a seamstress. At just 10 years old he entered the Paris Conservatoire studying piano and composition. At that time, he was their youngest student and he remained there for 11 years. Debussy’s time at the conservatoire wasn’t always a happy one however. -
Vocal Modeling Harmony Generator
Vocal Modeling Harmony Generator Owner’s Manual ©2009 Antares Audio Technologies. All rights reserved. Certified Isinglass-free.™ All trademarks are property of their respective owners. Antares Audio Technologies 231 Technology Circle, Scotts Valley, California 95066 USA www.antarestech.com Printed in USA Rev 1.0 PN P31031-0809-M01 The Obligatory Legal Mumbo-Jumbo The Antares Harmony EFX software Harmony EFX License Agreement and this User’s Manual are protected by Antares Audio Technologies grants you a copyright law. Making copies, adaptations, non-transferable, non-exclusive license to or derivative works without the prior use Harmony EFX under the terms and written authorization of Antares Audio conditions stated in this agreement. Use Technologies, is prohibited by law and of Harmony EFX indicates your agreement constitutes a punishable violation of the law. to the following terms and conditions. Antares Audio Technologies retains all License ownership rights to the Harmony EFX software You may: and its documentation. Use of Harmony EFX 1. Use Harmony EFX on only is limited by the following license agreement. one computer at a time. Please carefully read all the terms and You may not: conditions of this license agreement. At the time of installation of the Harmony 1. Make copies of Harmony EFX or of the EFX software you will be presented user manual in whole or in part except as with a copy of the agreement and asked expressly provided for in this agreement. whether or not you agree to it. Continuing Your right to copy Harmony EFX and with the installation process beyond that the user manual is limited by copyright point constitutes such agreement. -
Modern Music Theory Course Notes.Pdf
Modern Music Theory Shaun Keyt Modern Music Theory Course Summary Week 1: Scales Week 2: Rhythmic Melody Week 3: Melodic Design Week 4: Intervals & Harmony Week 5: Triads & Chord Progressions Week 6: Advanced Chords Week 7: Chord Functions Week 8: Musical Tension Modern Music Theory Shaun Keyt Week 1: Scales Key Concepts Melodic Emotion Use of particular notes in a pattern to produce particular emotion(s) Playing in Key Playing in Key means using the notes within the Scale of the musical piece The Musical Scale Definition of a Scale Defined set of notes which give a Melody a certain character Two Components of a Scale: Tonic and Mode Tonic Note: defines the note name of the Scale Mode: defines the Scale type The Chromatic Scale Characteristics of the Chromatic Scale Formula Contains all 12 semitones/notes in an octave Emotion Neutral because of its pure symmetry Distinguishing Characteristic All notes are equally spaced apart Modern Music Theory Shaun Keyt Diatonic Scales Characteristics of Diatonic Scales Description Seven distinct Pitch Classes 5 Whole Steps and 2 Half Steps per Octave Each Diatonic Scale has a Key Signature which prescribes the Intervals in the Scale Subset of the Chromatic Scale Diatonic Scale Degrees Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone (Major scale), Subtonic (Natural Minor scale) The Major Scale Characteristics Formula T 2 2 1 2 2 2 1 Emotion Traditionally associated with happiness, celebration and jubilance Distinguishing Characteristics Major 3rd Major 6th Major 7th Modern Music -
Final Dissertation
Copyright by Marcus Wilcher 2014 The Dissertation Committee for Marcus Wilcher Certifies that this is the approved version of the following dissertation: A Musical Analysis of Real Talk Committee: John R. Mills, Supervisor Jeffrey L. Hellmer, Co-Supervisor John M. Fremgen Robert A. Duke Bruce W. Pennycook James Polk A Musical Analysis of Real Talk by Marcus Wilcher, B.Music; M.Music Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2014 Dedication This dissertation is dedicated to my grandmother Mattie, my aunt Jeanette, and my uncle Butch. Thank you for the love and support. You will always be missed and never forgotten. Acknowledgements First and foremost, I give honor to God for allowing me the strength and patience to complete this project. Secondly I thank my father Michael, my mother Gwendolyn, and my brother Mike for all their support without which I would never have come this far. Finally, I want to thank my committee members, John Mills, Jeff Hellmer, John Fremgen, Robert Duke, Bruce Pennycook, and James Polk, for playing pivotal roles in my development as a musician and for their service on my dissertation committee. v A Musical Analysis of Real Talk Marcus Wilcher, D.M.A. The University of Texas at Austin, 2014 Supervisors: John R. Mills, Jeffrey L. Hellmer This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. -
Journal of the American Viola Society Volume 19 No. 1, Spring 2003
The Primrose International Viola Archive announces a generous gift by Peter Bartok of several hundred copies of the Facsimile of the Autograph Draft of the Viola Concerto by Bela Bartok • Hardtack in black, 12 cy 16 ill::h:s, 84 );B.ges in:lu:lir.g rroto p::ge. • :treface cy Feter Eart6k & CrnrrEntaiy cy L3szl6 s:mfai (Text ill Eh;Jlish, HJrg3rian, German, Jap::n:E?e, arrl ~) . • Fair t:.:rars::r:ipjm of t:lE draft with n:tes pr EP3Y" Ed cy 1\elson Lellarraggior e Any donor, past or future, contributing $150 or more to the Primrose Endowment will receive this handsome book as a gift from Brigham Young University. Send your donation to: Primrose Account BYU Development Office C-389 ASB Brigham Young University Provo, UT 84602 4). Journal of the American Viola Society A publication of the American Viola Society The Journal of the American Viola Spring 2003 Society is published in March and Volume 19 Number 1 November, and as an online-only issue in REGULAR DEPARTMENTS July. The American Viola Society was From the Editor ....................... .. ...... ...... 3 founded for the promotion of viola per From the President .......... .. ... ... ... ..... .... 5 formance and research. JAVS 19.1 Announcements ... ................... .... 7 © 2003, American Viola Society Alternative Styles: A Violist's Primer To Improvised ISSN 0898-5987 Accompaniments In Alternative Styles ......... ... .. ... 29 In the Studio: Let's be Knuckleheads! .................... 33 Editor: Kathryn Steely Modern Makers: D avid Burgess and Frank Ravatin . .. .. .. 37 Alternative Styles: Juliet White-Smith AVS Retrospective: Founding the Primrose International At the Grassroots: Louise Zeitlin Viola Archive (PIVA) ............... -
An Exploration of Harmony and Voice Leading in the Compositions of Chick Corea
WHERE HAVE I KNOWN THIS BEFORE? AN EXPLORATION OF HARMONY AND VOICE LEADING IN THE COMPOSITIONS OF CHICK COREA Jordan Michael Lynch 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 May 2012 Committee: William Lake, Advisor Nora Engebretsen ii ABSTRACT William Lake, Advisor Chick Corea has been and remains one of the most influential jazz pianists of the last 50 years. Throughout his career, he has had a distinct voice in the jazz community and is recognized for his incorporation of many different types of keyboard instruments into his compositions. Beyond timbral innovations, he has composed hundreds of pieces that represent a variety of styles, notably hard bop, post-bop, fusion, and classical. He also took part in the avant-garde jazz movement, through extensive, free group improvisations. Despite his large oeuvre, a surprisingly small amount of scholarly analysis and writing has been devoted to his music. A few theses and articles have examined his improvisations, but even less attention has been paid to his harmonic language. Steven Strunk has presented on Corea’s compositions of the 1960s, but these represent only a small portion of his musical output, and Ramon Satyendra’s article on “Starlight” focuses on a single composition. This thesis first discusses the styles in which Corea has composed and some of the musical attributes of these styles. The bulk of this paper is then devoted to the analysis of several pieces and excerpts of pieces containing specific harmonic features: functional harmony, chromatic-third relationships, harmonic planing, line-based progressions, pedal points, ostinati, and vamps. -
A Study of the Piano Works of Chu Wanghua, with an Emphasis on Six Preludes
A STUDY OF THE PIANO WORKS OF CHU WANGHUA, WITH AN EMPHASIS ON SIX PRELUDES By Shu Li Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson: Steven Spooner ________________________________ Roberta Schwartz ________________________________ Bryan Haaheim ________________________________ James Kirkendoll ________________________________ Jane Zhao Date Defended: 05/06/2015 The Dissertation Committee for Shu Li certifies that this is the approved version of the following dissertation: A STUDY OF THE PIANO WORKS OF CHU WANGHUA, WITH AN EMPHASIS ON SIX PRELUDES ________________________________ Chairperson: Steven Spooner Date approved: 05/06/2015 ii ABSTRACT From the early twentieth century to the present day, Chinese piano music has begun to enjoy enormous prosperity, integrating a modern and distinctive Chinese style with Western musical language. Chu WangHua is one of the most distinguished Chinese composers and pianists and has had great influence on the recent development of Chinese piano music. During his most turbulent compositional periods, Chu struggled with deep depression and pressure to succeed; however, he persisted in composing, his great passion. In his sixty-year compositional career, Chu produced a large body of repertoire, including piano works, concertos, symphonies, ensemble, string quartets and more; the majority of these are piano works. Six Preludes is one of Chu’s most representative and remarkable works written in the Chinese style. The six pieces in this set, named Bamboo in the Wind, Sound of Valley, On the Banks of the River, Berceuse, Elegie, and Memorial, are based on Chinese traditional folk tunes and instrumental music and incorporate Western musical style, harmonic language, and compositional technique. -
TONAL AMBIGUITY in DEBUSSY's PIANO WORKS by RIKA UCHIDA A
TONAL AMBIGUITY IN DEBUSSY'S PIANO WORKS by RIKA UCHIDA A THESIS Presented to the School of Music and the Graduate S�hool of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 1990 111 An Abstract of the Thesis of Rika Uchida for the degree of Master of Arts in the School of Music to be taken December 1990 Title: TONAL AMBIGUITY IN DEBUSSY'S PIANO WORKS Approved: Dr. Harold Owen Claude Debussy lived at a special point in the history of Music: .the turning point from the nineteenth to the twentieth century. As many of his contemporaries did, he tried to free himself from all the limitations of functional harmony and tonality. Instead of using. extreme chromaticism, he employed medieval church modes, whole-tone and pentatonic scales, planing, stepwise root movement, and harmonies built on intervals other than the third. All these factors tend to reject local tonal hierarchies and help to achieve tonal ambiguity. This study traces the gradual shift from clarity of tonality towards tonal ambiguity in Debussy's piano music and examines a variety of compositional techniques that he applied to achieve tonal ambiguity in each work. iv VITA NAME OF AUTHOR: Rika Uchida PLACE OF BIRTH: Tokyo, Japan GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon Tsuda College DEGREE AWARDED: Master of Arts, 1990, University of Oregon Bachelor of Arts, 1981, Tsuda College AREAS OF SPECIAL INTEREST: French Impressionistic Music Counterpoint and Fugue PROFESSIONAL EXPERIENCE: School of Music Assistantship, University of Oregon, Eugene, 1989-1990 Graduate Teaching Fellow, School of Music, University of Oregon, Eugene, 1990 V ACKNOWLEDGMENTS The author wishes to express sincere appreciation to Dr.