Scale Theory, Serial Theory and Voice Leading
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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. -
Cadence in Music Version 1.9: Oct 4, 2007 12:24 Pm GMT-5
Connexions module: m12402 1 Cadence in Music Version 1.9: Oct 4, 2007 12:24 pm GMT-5 Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License ∗ Abstract A cadence is a place in a piece of music that feels like a stopping or resting point. In tonal music, cadences are classied by their chord progressions. Cadence in Music A cadence is any place in a piece of music that has the feel of an ending point. This can be either a strong, denite stopping point - the end of the piece, for example, or the end of a movement or a verse - but it also refers to the "temporary-resting-place" pauses that round o the ends of musical ideas within each larger section. A musical phrase1, like a sentence, usually contains an understandable idea, and then pauses before the next idea starts. Some of these musical pauses are simply take-a-breath- type pauses, and don't really give an "ending" feeling. In fact, like questions that need answers, many phrases leave the listener with a strong expectation of hearing the next, "answering", phrase. Other phrases, though, end with a more denite "we've arrived where we were going" feeling. The composer's expert control over such feelings of expectation and arrival are one of the main sources of the listener's enjoyment of the music. Like a story, a piece of music can come to an end by simply stopping, but most listeners will react to such abruptness with dissatisfaction: the story or music simply "stopped" instead of "ending" properly. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Viewed by Most to Be the Act of Composing Music As It Is Being
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer’s Guide A doctoral document submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music By JEREMY LONG August, 2008 B.M., University of Kentucky, 1999 M.M., University of Cincinnati College-Conservatory of Music, 2002 Committee Chair: Mr. James Bunte Copyright © 2008 by Jeremy Long All rights reserved ABSTRACT Sonata for Alto Saxophone and Piano by Phil Woods combines Western classical and jazz traditions, including improvisation. A crossover work in this style creates unique challenges for the performer because it requires the person to have experience in both performance practices. The research on musical works in this style is limited. Furthermore, the research on the sections of improvisation found in this sonata is limited to general performance considerations. In my own study of this work, and due to the performance problems commonly associated with the improvisation sections, I found that there is a need for a more detailed analysis focusing on how to practice, develop, and perform the improvised solos in this sonata. This document, therefore, is a performer’s guide to the sections of improvisation found in the 1997 revised edition of Sonata for Alto Saxophone and Piano by Phil Woods. -
Among the Not So Great / First Edition.– Pondicherry
AMONG THE NOT SO GREAT Among the Not So Great PRABHAKAR (Batti) NEW HOUSE KOLKATA First edition Sri Mira Trust 2003 Second enlarged edition New House 2018 Rs 270.00 © Sri Mira Trust 2003 Published by New House, Kolkata - 700 025 Printed at Sri Aurobindo Ashram Press, Pondicherry Printed in India INTRODUCTION I write this about some old Ashramites — interesting people, who I feel should not be lost, buried in the past. I write of them for they are, or were, so garbed in their ordinariness that their coming, going and even their short sojourn here went unheralded, unnoticed and unsung. Maybe I use words too high-sounding, but I would that you let that pass. They did not achieve anything great (in the usual sense of the word) — for no poetry, prose or philosophy spewed forth from their innards. They created no piece of art nor did they even put up a block of masonry. But they achieved this — when you by chance thought of them a bubble of joy rose from your stomach, tingled its way up like a soda-induced burp. What more can one ask of another but this moment of joy? This is reason enough for me to bring them back from the past. These that I mention here were quite closely associated with me, and I think it would interest many who have not had the good chance to rub shoulders with them, nor even see them, probably. This is a homely “Who-is-who”. I first started writing this series with no idea whatsoever as to what I was going to do, once I had written. -
Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College
Claremont Colleges Scholarship @ Claremont All HMC Faculty Publications and Research HMC Faculty Scholarship 8-1-2012 Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College Recommended Citation Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 This Article is brought to you for free and open access by the HMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in All HMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Consonance and Dissonance in Visual Music Bill Alves Organised Sound / Volume 17 / Issue 02 / August 2012, pp 114 - 119 DOI: 10.1017/S1355771812000039, Published online: 19 July 2012 Link to this article: http://journals.cambridge.org/abstract_S1355771812000039 How to cite this article: Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 134.173.130.244 on 24 Jul 2014 Consonance and Dissonance in Visual Music BILL ALVES Harvey Mudd College, The Claremont Colleges, 301 Platt Blvd, Claremont CA 91711 USA E-mail: [email protected] The concepts of consonance and dissonance broadly Plato found the harmony of the world in the Pythag- understood can provide structural models for creators of orean whole numbers and their ratios, abstract ideals visual music. -
Josquin Des Prez: Master of the Notes
James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes. -
Modelling Cadence Perception Via Musical Parameter Tuning To
Modelling Cadence Perception Via Musical Parameter Tuning to Perceptual Data Maximos Kaliakatsos-Papakostas, Asterios Zacharakis, Costas Tsougras, Emilios Cambouropoulos To cite this version: Maximos Kaliakatsos-Papakostas, Asterios Zacharakis, Costas Tsougras, Emilios Cambouropoulos. Modelling Cadence Perception Via Musical Parameter Tuning to Perceptual Data. 12th IFIP Inter- national Conference on Artificial Intelligence Applications and Innovations (AIAI), Sep 2016, Thes- saloniki, Greece. pp.552-561, 10.1007/978-3-319-44944-9_49. hal-01557595 HAL Id: hal-01557595 https://hal.inria.fr/hal-01557595 Submitted on 6 Jul 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License Modelling cadence perception via musical parameter tuning to perceptual data. Maximos Kaliakatsos-Papakostas, Asterios Zacharakis, Costas Tsougras, and Emilios Cambouropoulos Department of Music Studies, Aristotle University of Thessaloniki, 54124, Thessaloniki, Greece {maxk,aszachar,tsougras,emilios}@mus.auth.gr Abstract. Conceptual blending when used as a creative tool combines the features of two input spaces, generating new blended spaces that share the common structure of the inputs, as well as different combi- nations of their non-common parts. In the case of music, conceptual blending has been employed creatively, among others, in generating new cadences (pairs of chords that conclude musical phrases). -
Tiina Rosenberg
Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device. -
Immaterial Cultural Heritage: a Resource for Sustainable Tourism? – Cultural Politics and Local Experiences with the Unesco Status
Eckehard Pistrick IMMATERIAL CULTURAL HERITAGE: A RESOURCE FOR SUSTAINABLE TOURISM? – CULTURAL POLITICS AND LOCAL EXPERIENCES WITH THE UNESCO STATUS Dynamic Touristic Visions Versus Immaterial Preservation Agendas One of the main research agendas of the discipline of ethnomusicology since more than 100 years has been the preservation and documentation of im- material/intangible cultural heritage. Every outside intrusion/alteration of the practices – considered to be worth documenting and transcribing – was con- sidered a potential threat to its presumed authenticity. Ethnomusicology, in this respect, assumed an increasing role within what in a globalised context we might call the ‘authentification industry’. It is, therefore, not surprising that ethnomusicologists always had a sceptical view on the long-term effects of tourism on local culture. The potential of tourism for the mission of eth- nomusicologists is, therefore, to be reconsidered – and it is in this light that I want to see my contribution to this volume. Talking about sustainable tourism means also talking about ‘cultural’ sustain- ability. How can tourism contribute to preserve local cultural practices in situ? What role illustrates authenticity in this case? How can tourism promote cul- tural diversity in collaboration with national cultural policies and with the cultural policies of transnational actors such as UNESCO? How can immate- rial cultural heritage, such as local and musical knowledge or oral histories, be incorporated into a holistic touristic vision considering social everyday prac- tices, material and immaterial heritage as complementary elements of a whole? It seems that, particularly, immaterial cultural heritage has played a neglected role in the touristic sector. Already, the elements of the term itself: ‘imma- terial’, ‘intangible’, and ‘heritage’ have become questioned and increasingly contested terms in the community of musicologists. -
Renaissance Counterpoint Towards a Better Understanding of Basso Continuo Repertoire Prepared by Lucas Harris Revised 10/2000
A Crash-Course in Renaissance Counterpoint Towards a Better Understanding of Basso Continuo Repertoire Prepared by Lucas Harris Revised 10/2000 I. Introduction In the period of the birth of basso continuo, it is certainly true that musicians and composers began to think more ‘vertically’ and less ‘horizontally,’ meaning that harmonic thinking in terms of block chords began to challenge the long-reigning contrapuntal procedures of Renaissance composition. This probably happened for a number of different reasons, not least of which is that it simplified accompaniment, thereby making self-accompanied singing more practical as well as freeing more attention to expressing the text. However, the highly evolved and complex system of Renaissance counterpoint could not have just disappeared overnight. In fact, despite the radical challenges that it sustained around 1600, Renaissance counterpoint still informed how music was made throughout the whole Baroque (think of music today nearly a century after the ‘collapse of tonality’). This is just to recognize that in many ways we are coming to the basso continuo repertoire from the opposite direction from its composers: the dominant approach to making music in our day involves melodies over chords, whereas theirs was one where individual but inter-dependent parts meshed to form a texture. It might do us some good to get some basics as to how Renaissance music theory worked. Though the whole corpus of rules is huge and took years to learn and master, we can be selective and brush on a few small topics that are fairly easy to grasp and will offer the most help in understanding the ‘horizontal’ component of basso continuo repertoire.