Music 10 intervals ppt


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Learn why intervals play an important part in the history of Western harmony. Musical examples included for study.

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Music 10 intervals ppt

  1. 1. Music 10 November 2010
  2. 2. Where did they come from?  Intervals first appeared in music in the Middle Ages in Gregorian chant, and then in the Renaissance.  Until the 9th century, harmony (intervals!) was frowned upon by the church, being considered the work of the Devil!  When organum, the earliest form of harmony was invented to add a second voice to Gregorian chants, our fascination with intervals began. The intervals that were heard most often were P5 and P8.  In order for harmony to exist, the two voices would have to sing different notes. The mood and quality of the music is very much affected by which intervals are used and how. 
  3. 3. The Renaissance: More harmony, more fun  In the Renaissance era (1400 – 1600), polyphony had become a huge part of music.  Polyphony = 2 or more independent melodic voices.  With 3 or 4 voices going at once, intervals were used everywhere to add density and fullness to the music.  The advent of the triad: the use of P5s and thirds becomes the norm  Dissonant intervals appear only in passing – not on downbeats 
  4. 4. The Baroque Era: Laying Down the Law... On Intervals  Beginnings of SATB harmony: bottom and top voices “define” the harmonic contour.  3rds, P4s, P5s, 6ths, P8s most prevalent. Dissonant intervals used only as “suspensions” for resolution.  Harmony now even denser  Use of //5s and //8s outlawed because they take away from the independence of each part, are jarring to the ear, and because a melody harmonized by its 5th is merely a melody played in two different keys (Baroque music was very focused on ONE tonal centre – this would have given it TWO) 
  5. 5. The Classical Era: It’s all about the melody  In Classical Era music (1750 – 1820), the focus moved from polyphony to the melody.  The “voices” working together was still very important, but all voices worked to serve and show off the melody within a piece of music.  Composers still followed the harmonic rules set out in the Baroque era  Used properly, intervals (in the form of chords) could in fact allow a composer to modulate from one key to another, giving the piece of music a sense of change in mood and direction! 
  6. 6. The Romantic Era, 20th Century and Onward  Romantic music still focused on melody and triad-based harmony, but embraced dissonance for the depth, emotion and sadness it added to their music.  Beginning partway through the Romantic era and continuing today, harmony and the use of intervals began to change drastically.  Tonal centres were no longer as important, and composers embraced dissonance when it served their musical purpose  All intervals were used with more freedom and dissonance was used to communicate changes in mood and uncertainty in a storyline 
  7. 7. 20th Century Music  Moving in to the 1900s, composers were experimenting even further with tonality and unconventional uses of intervals and unconventional ways of listening to music  Using dissonant intervals and avoiding a home key became very popular and is one of the trademarks of 20th century music  ture=fvst
  8. 8. Discussion  Which style of music did you like the most, and why?  Do you agree with the rules set forth in the Baroque era for composition? Should the writing of music be controlled that way? Why or why not?  Where do you think the use of harmony and intervals will go in the future? Are we moving back to tonal music, or moving away?  Can you think of any pieces of music that user intervals in an unconventional way? How do the intervals they are, and the way they use them, affect how we percieve the music?