Glossary of Musical Terms
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Recasting Gender
RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION -
Totalartwork
spınetL an Experiment on Gesamtkunstwerk Totalartwork Thursday–Friday October 21–22, 2004 The Cooper Union for the Advancement of Science and Art www.birgitramsauer.net/spinet 21 October 22 October Panel Discussion 6–7pm Panel Discussion 6–7pm Contemporary artists and an The Gesamtkunstwerk (Totalartwork) historical instrument in the 21st century Moderator: Moderator: Christopher McIntyre Christopher McIntyre Associate Music Curator, The Kitchen Associate Music Curator, The Kitchen Participants include: Jens Barnieck, pianist Participants include: Enrico Cocco, composer Jens Barnieck, pianist Gearoid Dolan, artist Enrico Cocco, composer Kyle Gann, composer, critic Gearoid Dolan, artist Thea Herold, word performer Thea Herold, word performer Charlie Morrow, composer Charlie Morrow, composer Aloisia Moser, philosopher Wolf-Dieter Neupert, company Wolf-Dieter Neupert, company for historical instruments for historical instruments Georg Nussbaumer, composer Georg Nussbaumer, composer Birgit Ramsauer, artist Birgit Ramsauer, artist Kartharina Rosenberger, Katharina Rosenberger, composer composer David Grahame Shane, architect, urbanist, author Concert 8pm Gerd Stern, poet and artist Gloria Coates Abraham Lincoln’s Performance 8pm Cooper Union Address* Frieder Butzmann Stefano Giannotti Soirée pour double solitaires * L’Arte des Paesaggio Charlie Morrow, alive I was silent Horst Lohse, Birgit’s Toy* and in death I do sing* Intermission Enrico Cocco, The Scene of Crime* Heinrich Hartl, Cemballissimo Aldo Brizzi, The Rosa Shocking* Katharina Rosenberger, -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Theory Placement Examination (D
SAMPLE Placement Exam for Incoming Grads Name: _______________________ (Compiled by David Bashwiner, University of New Mexico, June 2013) WRITTEN EXAM I. Scales Notate the following scales using accidentals but no key signatures. Write the scale in both ascending and descending forms only if they differ. B major F melodic minor C-sharp harmonic minor II. Key Signatures Notate the following key signatures on both staves. E-flat minor F-sharp major Sample Graduate Theory Placement Examination (D. Bashwiner, UNM, 2013) III. Intervals Identify the specific interval between the given pitches (e.g., m2, M2, d5, P5, A5). Interval: ________ ________ ________ ________ ________ Note: the sharp is on the A, not the G. Interval: ________ ________ ________ ________ ________ IV. Rhythm and Meter Write the following rhythmic series first in 3/4 and then in 6/8. You may have to break larger durations into smaller ones connected by ties. Make sure to use beams and ties to clarify the meter (i.e. divide six-eight bars into two, and divide three-four bars into three). 2 Sample Graduate Theory Placement Examination (D. Bashwiner, UNM, 2013) V. Triads and Seventh Chords A. For each of the following sonorities, indicate the root of the chord, its quality, and its figured bass (being sure to include any necessary accidentals in the figures). For quality of chord use the following abbreviations: M=major, m=minor, d=diminished, A=augmented, MM=major-major (major triad with a major seventh), Mm=major-minor, mm=minor-minor, dm=diminished-minor (half-diminished), dd=fully diminished. Root: Quality: Figured Bass: B. -
Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
Introitus: the Entrance Chant of the Mass in the Roman Rite
Introitus: The Entrance Chant of the mass in the Roman Rite The Introit (introitus in Latin) is the proper chant which begins the Roman rite Mass. There is a unique introit with its own proper text for each Sunday and feast day of the Roman liturgy. The introit is essentially an antiphon or refrain sung by a choir, with psalm verses sung by one or more cantors or by the entire choir. Like all Gregorian chant, the introit is in Latin, sung in unison, and with texts from the Bible, predominantly from the Psalter. The introits are found in the chant book with all the Mass propers, the Graduale Romanum, which was published in 1974 for the liturgy as reformed by the Second Vatican Council. (Nearly all the introit chants are in the same place as before the reform.) Some other chant genres (e.g. the gradual) are formulaic, but the introits are not. Rather, each introit antiphon is a very unique composition with its own character. Tradition has claimed that Pope St. Gregory the Great (d.604) ordered and arranged all the chant propers, and Gregorian chant takes its very name from the great pope. But it seems likely that the proper antiphons including the introit were selected and set a bit later in the seventh century under one of Gregory’s successors. They were sung for papal liturgies by the pope’s choir, which consisted of deacons and choirboys. The melodies then spread from Rome northward throughout Europe by musical missionaries who knew all the melodies for the entire church year by heart. -
Music Standards
5th Grade Singing alone and with others Standard 1 Students sing alone or in groups, on pitch and in rhythm, using good tone, diction, breath control, and posture while maintaining a steady tempo. They sing from memory a variety of song repertoire, including ostinatos, partner songs, rounds, and music of many cultures and styles. They sing accurately with appropriate dynamics, breath control, phrasing, and interpretation. Students in fifth grade sing in groups, blending vocal sounds, matching dynamics, and following the conductor. 5.1.1 Sing warm-ups that stress diction, posture, and an appropriate singing tone. 5.1.2 Sing a round with appropriate dynamics, phrasing and interpretations. Maintain an independent part and keep a steady beat. 5.1.3 Sing a memorized song in a foreign language. 5.1.4 Follow the conductor. Playing an instrument alone and with others Standard 2 Students perform accurately, independently, and expressively on an instrument, either alone or in an ensemble. They echo easy rhythmic, melodic, and chordal patterns. Students perform in groups, blending instrumental tones, matching dynamics, and responding to the conductor. They perform instrumental parts while other students sing or play different parts. 5.2.1 Play an ostinato part independently. 5.2.2 Play a melody or rhythm in the proper tempo, using appropriate dynamics. 5.2.3 Play an accompaniment to a class or group song. Example: On a keyboard, guitar, mallet instrument, or autoharp, play an ostinato pattern while the group sings. 5.2.4 Play a variety of music of various cultures and styles. 5.2.5 Maintain an independent part on an instrument in a group while following the conductor. -
GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭.