The Romantext Format: a Flexible and Standard Method for Representing Roman Numeral Analyses
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500 Natural Sciences and Mathematics
500 500 Natural sciences and mathematics Natural sciences: sciences that deal with matter and energy, or with objects and processes observable in nature Class here interdisciplinary works on natural and applied sciences Class natural history in 508. Class scientific principles of a subject with the subject, plus notation 01 from Table 1, e.g., scientific principles of photography 770.1 For government policy on science, see 338.9; for applied sciences, see 600 See Manual at 231.7 vs. 213, 500, 576.8; also at 338.9 vs. 352.7, 500; also at 500 vs. 001 SUMMARY 500.2–.8 [Physical sciences, space sciences, groups of people] 501–509 Standard subdivisions and natural history 510 Mathematics 520 Astronomy and allied sciences 530 Physics 540 Chemistry and allied sciences 550 Earth sciences 560 Paleontology 570 Biology 580 Plants 590 Animals .2 Physical sciences For astronomy and allied sciences, see 520; for physics, see 530; for chemistry and allied sciences, see 540; for earth sciences, see 550 .5 Space sciences For astronomy, see 520; for earth sciences in other worlds, see 550. For space sciences aspects of a specific subject, see the subject, plus notation 091 from Table 1, e.g., chemical reactions in space 541.390919 See Manual at 520 vs. 500.5, 523.1, 530.1, 919.9 .8 Groups of people Add to base number 500.8 the numbers following —08 in notation 081–089 from Table 1, e.g., women in science 500.82 501 Philosophy and theory Class scientific method as a general research technique in 001.4; class scientific method applied in the natural sciences in 507.2 502 Miscellany 577 502 Dewey Decimal Classification 502 .8 Auxiliary techniques and procedures; apparatus, equipment, materials Including microscopy; microscopes; interdisciplinary works on microscopy Class stereology with compound microscopes, stereology with electron microscopes in 502; class interdisciplinary works on photomicrography in 778.3 For manufacture of microscopes, see 681. -
Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof. -
Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale. -
A New Rule-Based Method of Automatic Phonetic Notation On
A New Rule-based Method of Automatic Phonetic Notation on Polyphones ZHENG Min, CAI Lianhong (Department of Computer Science and Technology of Tsinghua University, Beijing, 100084) Email: [email protected], [email protected] Abstract: In this paper, a new rule-based method of automatic 2. A rule-based method on polyphones phonetic notation on the 220 polyphones whose appearing frequency exceeds 99% is proposed. Firstly, all the polyphones 2.1 Classify the polyphones beforehand in a sentence are classified beforehand. Secondly, rules are Although the number of polyphones is large, the extracted based on eight features. Lastly, automatic phonetic appearing frequency is widely discrepant. The statistic notation is applied according to the rules. The paper puts forward results in our experiment show: the accumulative a new concept of prosodic functional part of speech in order to frequency of the former 100 polyphones exceeds 93%, improve the numerous and complicated grammatical information. and the accumulative frequency of the former 180 The examples and results of this method are shown at the end of polyphones exceeds 97%. The distributing chart of this paper. Compared with other approaches dealt with polyphones’ accumulative frequency is shown in the polyphones, the results show that this new method improves the chart 3.1. In order to improve the accuracy of the accuracy of phonetic notation on polyphones. grapheme-phoneme conversion more, we classify the Keyword: grapheme-phoneme conversion; polyphone; prosodic 700 polyphones in the GB_2312 Chinese-character word; prosodic functional part of speech; feature extracting; system into three kinds in our text-to-speech system 1. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Graduate Music Theory Exam Preparation Guidelines
Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth. -
A Graduate Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 A Graduate Recital Report Richard J. Muirhead Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Muirhead, Richard J., "A Graduate Recital Report" (1970). All Graduate Plan B and other Reports. 611. https://digitalcommons.usu.edu/gradreports/611 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. A GRADUATE RECITA L REFDRT by Richard J. Huirhead Rerort of a recital performed in partial fulfill"-ent of the requirements for the degree of ·l1AS TER OF BUSIC in Applied Husic UTAH STATE UNIVERSITY Logan, Utah 1970 ACKNO\VLEDGENEN'IS Sincere appreciation is given to the members of ~ co ~~ ttee, Dr. 1-lilliam Ramsey, Dr. Alma Dittmer and Dr. 11ax Dalby, for their unselfishly giving me of their time, including holidays and weekends, to assist me ;Qth ~ special needs. I would like to particularly thank Dr. Rams~y , ~major professor, "no has guided me to a new insight of sineing ar.d ·,rho has helped to open a ;rhole ne1·1 field of repertoire for me . Debbie Schoonmaker, nw accompanist, deserves special praise and appreciation for her skill and musicRl talent ;,hich helped to make this recitel a success. Host i mp ortant of all, I wish to thank ~ ;Qfe , Alke, for her assistance and encouragerr.e nt in the preparing of t he reci tR1 and this paper. -
Affordant Chord Transitions in Selected Guitar-Driven Popular Music
Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions. -
Notation Guide for Precalculus and Calculus Students
Notation Guide for Precalculus and Calculus Students Sean Raleigh Last modified: August 27, 2007 Contents 1 Introduction 5 2 Expression versus equation 7 3 Handwritten math versus typed math 9 3.1 Numerals . 9 3.2 Letters . 10 4 Use of calculators 11 5 General organizational principles 15 5.1 Legibility of work . 15 5.2 Flow of work . 16 5.3 Using English . 18 6 Precalculus 21 6.1 Multiplication and division . 21 6.2 Fractions . 23 6.3 Functions and variables . 27 6.4 Roots . 29 6.5 Exponents . 30 6.6 Inequalities . 32 6.7 Trigonometry . 35 6.8 Logarithms . 38 6.9 Inverse functions . 40 6.10 Order of functions . 42 7 Simplification of answers 43 7.1 Redundant notation . 44 7.2 Factoring and expanding . 45 7.3 Basic algebra . 46 7.4 Domain matching . 47 7.5 Using identities . 50 7.6 Log functions and exponential functions . 51 7.7 Trig functions and inverse trig functions . 53 1 8 Limits 55 8.1 Limit notation . 55 8.2 Infinite limits . 57 9 Derivatives 59 9.1 Derivative notation . 59 9.1.1 Lagrange’s notation . 59 9.1.2 Leibniz’s notation . 60 9.1.3 Euler’s notation . 62 9.1.4 Newton’s notation . 63 9.1.5 Other notation issues . 63 9.2 Chain rule . 65 10 Integrals 67 10.1 Integral notation . 67 10.2 Definite integrals . 69 10.3 Indefinite integrals . 71 10.4 Integration by substitution . 72 10.5 Improper integrals . 77 11 Sequences and series 79 11.1 Sequences . -
Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Time Allotment: 20 Minutes Per Day
10th Grade Music – Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Time Allotment: 20 minutes per day Student Name: ________________________________ Teacher Name: ________________________________ Academic Honesty I certify that I completed this assignment I certify that my student completed this independently in accordance with the GHNO assignment independently in accordance with Academy Honor Code. the GHNO Academy Honor Code. Student signature: Parent signature: ___________________________ ___________________________ Music – Choir I: Diatonic Chords in Major and Minor Keys May 4 – May 8 Packet Overview Date Objective(s) Page Number Monday, May 4 1. Review Roman numeral identification of triads 2 2. Identify diatonic seventh chords in major Tuesday, May 5 1. Identify diatonic seventh chords in minor 4 Wednesday, May 6 1. Decode inversion symbols for diatonic triads 5 Thursday, May 7 1. Decode inversion symbols for diatonic seventh 7 chords Friday, May 8 1. Demonstrate understanding of diatonic chord 9 identification and Roman numeral analysis by taking a written assessment. Additional Notes: In order to complete the tasks within the following packet, it would be helpful for students to have a piece of manuscript paper to write out triads; I have included a blank sheet of manuscript paper to be printed off as needed, though in the event that this is not feasible students are free to use lined paper to hand draw a music staff. I have also included answer keys to the exercises at the end of the packet. Parents, please facilitate the proper use of these answer documents (i.e. have students work through the exercises for each day before supplying the answers so that they can self-check for comprehension.) As always, will be available to provide support via email, and I will be checking my inbox regularly.