The document discusses the naturalism of tonality in music. It argues that tonality is a natural force like gravity due to the harmonic properties of musical notes. Specifically, it explains that the tritone interval created between the major third and flattened seventh notes in a V7 chord creates tension that has a gravitational pull towards resolution to the I chord. It explores how composers have exploited this tonal gravity through different cadences. The document also discusses how tonality is inherently present in various musical traditions and scales from around the world due to their origins in harmonic intervals.
This document provides definitions and explanations of key musical terminology introduced in the first five chapters of the LISTEN curriculum. It begins by defining music as "the art of arranging sounds in time" and provides the Greek origins of the words "music" and "muse." Subsequent sections define fundamental concepts like rhythm, pitch, melody, harmony, texture, tonality, modes, and musical form. The document also includes examples from classical pieces to illustrate various terms and encourages listening to examples provided in the curriculum.
The document discusses the key elements of music - rhythm, beat, tempo, dynamics, timbre, pitch, melody, harmony, form, and texture. It defines each element and provides examples to illustrate how they are used in musical composition and performance. Elements like rhythm, tempo, and dynamics describe how the music moves through time, while timbre, pitch, melody, and harmony relate to the tones and sounds used. Form and texture refer to the overall structure and layering of musical ideas. Together these elements can be combined and manipulated to express emotion in enjoyable musical pieces.
Tchaikovsky’s romeo and juliet fantasy overtureemilynch
Pyotr Tchaikovsky's Romeo and Juliet Fantasy Overture is based on Shakespeare's play and uses three main themes to represent the characters and conflict. The Friar Lawrence theme conveys reason and peacekeeping, starting calmly but becoming agitated. The Strife theme depicts the violent feud between families with a pulsating rhythm. The Love theme is the most famous, portraying the forbidden but growing love between Romeo and Juliet with emotion and alteration. The work follows sonata form and develops these themes to parallel the plot's darkening and resolution of conflict.
This document discusses sonata form and how Beethoven used it in the first movement of his 5th Symphony. It explains that sonata form has three main sections - the exposition, development, and recapitulation. In the exposition, the main themes are introduced. Beethoven uses the famous four-note motive as the first subject. In the development section, the themes are manipulated and explored across different keys. The recapitulation restates the themes in the original tonic key. The document provides examples of how Beethoven applied each section in the 5th Symphony.
Sonata form is a musical structure that became popular in the Classical period, consisting of three main sections - the Exposition, Development, and Recapitulation. In the Exposition, the main themes are introduced, including the rhythmic first subject and more lyrical second subject, which is usually in a related key. The Development section transforms fragments of the themes, and the Recapitulation restates the Exposition with the second subject now in the tonic key. Tchaikovsky's Romeo and Juliet Fantasy Overture employs sonata form and features themes representing strife, love, and Friar Lawrence.
Luca Nobile - The Grammatical Monophonemes of Standard Italian. A structural isomorphism between phonological and semantic oppositions? - 10th International Cognitive Linguistic Conference - Krakow, July 15th-20th, 2007
The document provides an overview of musicology and the requirements for an assessment in a musicology module. It discusses the history and goals of musicology, focusing on analyzing popular music. The assessment consists of a 2,000-word essay analyzing a musical work and a 5-minute technological presentation on a musicological topic. The essay must use concepts like form, harmony, melody, and rhythm to analyze compositions.
This document provides definitions and explanations of key musical terminology introduced in the first five chapters of the LISTEN curriculum. It begins by defining music as "the art of arranging sounds in time" and provides the Greek origins of the words "music" and "muse." Subsequent sections define fundamental concepts like rhythm, pitch, melody, harmony, texture, tonality, modes, and musical form. The document also includes examples from classical pieces to illustrate various terms and encourages listening to examples provided in the curriculum.
The document discusses the key elements of music - rhythm, beat, tempo, dynamics, timbre, pitch, melody, harmony, form, and texture. It defines each element and provides examples to illustrate how they are used in musical composition and performance. Elements like rhythm, tempo, and dynamics describe how the music moves through time, while timbre, pitch, melody, and harmony relate to the tones and sounds used. Form and texture refer to the overall structure and layering of musical ideas. Together these elements can be combined and manipulated to express emotion in enjoyable musical pieces.
Tchaikovsky’s romeo and juliet fantasy overtureemilynch
Pyotr Tchaikovsky's Romeo and Juliet Fantasy Overture is based on Shakespeare's play and uses three main themes to represent the characters and conflict. The Friar Lawrence theme conveys reason and peacekeeping, starting calmly but becoming agitated. The Strife theme depicts the violent feud between families with a pulsating rhythm. The Love theme is the most famous, portraying the forbidden but growing love between Romeo and Juliet with emotion and alteration. The work follows sonata form and develops these themes to parallel the plot's darkening and resolution of conflict.
This document discusses sonata form and how Beethoven used it in the first movement of his 5th Symphony. It explains that sonata form has three main sections - the exposition, development, and recapitulation. In the exposition, the main themes are introduced. Beethoven uses the famous four-note motive as the first subject. In the development section, the themes are manipulated and explored across different keys. The recapitulation restates the themes in the original tonic key. The document provides examples of how Beethoven applied each section in the 5th Symphony.
Sonata form is a musical structure that became popular in the Classical period, consisting of three main sections - the Exposition, Development, and Recapitulation. In the Exposition, the main themes are introduced, including the rhythmic first subject and more lyrical second subject, which is usually in a related key. The Development section transforms fragments of the themes, and the Recapitulation restates the Exposition with the second subject now in the tonic key. Tchaikovsky's Romeo and Juliet Fantasy Overture employs sonata form and features themes representing strife, love, and Friar Lawrence.
Luca Nobile - The Grammatical Monophonemes of Standard Italian. A structural isomorphism between phonological and semantic oppositions? - 10th International Cognitive Linguistic Conference - Krakow, July 15th-20th, 2007
The document provides an overview of musicology and the requirements for an assessment in a musicology module. It discusses the history and goals of musicology, focusing on analyzing popular music. The assessment consists of a 2,000-word essay analyzing a musical work and a 5-minute technological presentation on a musicological topic. The essay must use concepts like form, harmony, melody, and rhythm to analyze compositions.
The document discusses various elements of music including rhythm, tonality, melody, texture, harmony, dynamics, and structure. It provides definitions and examples of key concepts related to rhythm such as beat, pulse, meter, tempo, and syncopation. It also discusses tonality and defines scales such as major, minor, modes, pentatonic, blues, and chromatic. Melody is defined as a sequence of single notes that form the main musical line. Phrasing, contour, sequence, and motive are discussed as key melodic concepts.
The document discusses the basic elements of music including melody, rhythm, harmony, texture, form, tempo, and dynamics. It defines these terms and provides examples to describe their characteristics and how they are used in musical composition. Key points covered include the definition of melody as a musical line, characteristics of rhythm like meter and beat, how harmony involves the relationship between intervals and chords, different musical textures such as monophony and polyphony, common musical forms like binary and ternary, and how tempo and dynamics contribute to the musical expression.
This document discusses various elements of music and how they contribute to musical form and meaning. It begins by summarizing a paper on the band Korn that analyzed the interrelationship between lyrics and music using different techniques. It then defines common musical elements like timbre, texture, harmony, and rhythm. Examples are given of how elements like rhythm, harmony, melody, and instrumentation can determine musical form. Specific techniques like stop time, changes in harmony, and unusual bar structures are examined. The document concludes by outlining sections of popular music forms and providing homework tasks of adding examples to a musicology wiki.
This document provides an introduction to music theory concepts including clefs, notes, rhythm, key signatures, and more. It covers topics such as the treble and bass clefs, major and minor scales, intervals, stacking notes to form chords, simple and compound meter, and the circle of fifths for understanding key signatures. The author is a clarinet performance major who hopes to teach music. Resources for further information are also provided.
The document provides guidance for answering a Section B exam question on a musical piece. It advises that answers should be structured by addressing each bullet point in short paragraphs. Answers will be judged on knowledge of the piece, use of musical language, and quality of writing. Sample questions and answers are provided, with examiner feedback assessing the responses.
This document provides an overview of the basic elements of music, including rhythm, dynamics, melody, harmony, tone color, texture, form, and articulation. It defines these elements and provides related musical terms. For each element, examples are given to illustrate musical concepts like tempo, pitch, intervals, chords, monophonic and polyphonic texture, and musical forms like binary and ternary. Instrument families and their timbres are also briefly described.
This is a example powerpoint slide of what you might see in a 12th grade music theory class. This is an outline/introduction to root position part writing!
The document discusses various musical elements and styles. It defines rhythm as the flow of music through time, created by combining notes and rests. It describes the basic elements of rhythm including beat, meter, accent, syncopation, and tempo. It also discusses musical notation including the staff, clefs, notes, rests, and other symbols. Finally, it provides an overview of different musical styles from the Middle Ages to the 20th century.
This document provides an overview of the basic elements of music including rhythm, dynamics, melody, harmony, tone color, texture, and musical form. It defines these key terms and concepts, and gives examples to illustrate them. The chapter also introduces the six main historical periods of Western art music from the Middle Ages to the modern era, outlining some of the defining characteristics of each style period. It concludes by briefly describing Benjamin Britten's composition "The Young Person's Guide to the Orchestra", which is used to demonstrate different instrumental families and tones colors.
The document summarizes the basic elements of music - melody, rhythm, harmony, texture, and form. It defines each element and provides examples. Melody is a succession of pitches that form phrases through cadences. Rhythm deals with musical movement through time defined by beats and meters. Harmony refers to the simultaneous sounding of pitches or tones to form chords and scales. Texture describes how melodic and harmonic elements are combined, such as in monophony, polyphony, homorhythm, and homophony. Form structures music through repetition, contrast, and variation in structures like binary and ternary forms.
The document provides a listening guide for Mahler's Adagietto from his Fifth Symphony. It includes background information on the piece, describing how it has been interpreted in different contexts and associated with sorrow. It explores the piece in detail, discussing aspects for listeners to focus on, such as the use of a single instrument and long held notes. It encourages listening to different recordings to compare conducting speeds and feelings conveyed.
This document outlines the six main concepts of music - duration, pitch, dynamics and expressive techniques, tone colour, texture, and structure. For each concept, it provides definitions and terminology used to describe elements within that concept. It also includes links to audio examples for each concept.
The document provides an overview of music including its history, elements, production, and opportunities. It discusses how music developed among prehistoric humans and ancient cultures. The core elements of music like melody, pitch, scales, rhythm, harmony, and dynamics are explained. Musical forms, composition, notation, and improvisation involved in music production are covered. Finally, it briefly mentions music instruments, personalities, reality shows, courses, and career opportunities in the field of music.
This document provides a revision guide for GCSE Music. It covers the key areas of study including rhythm and metre, harmony and tonality, texture and melody, timbre and dynamics, and structure and form. It defines important musical terminology and provides example questions. It also includes a listening guide with examples of music from different genres and cultures to support learning. Websites are listed that provide audio examples of musical elements and terms to aid revision.
Chapter 46Charles Ives The Unanswered Question Composed.docxrobertad6
Chapter 46Charles Ives
The Unanswered Question
Composed: 1908
Ives, like other modernists working in the early twentieth century, was trying to
find new means of musical expression that went beyond standard conventions of
harmony and melody. Nowhere is this struggle between old and new styles more
evident than in The Unanswered Question.
Listen to the Text
Composer Profile: Charles Ives
Listen to the Text
Ives (1874–1954) both absorbed and rebelled against almost every musical
tradition of his time. The son of a Civil War bandmaster, he grew up in Danbury,
Connecticut, where he learned many different kinds of music: the orchestral
repertory of the concert hall, church hymns, band music, and popular songs in the
parlors of the town's homes. Ives worked all of these idioms into his own music,
often in the same work.
As a composer, Ives's career path also went against the grain. If a composer “has a
nice wife and some nice children,” he once asked, “how can he let them starve on
his dissonances?” His “day job” was in insurance, and as it turned out, Ives did
quite well for himself. He composed in his spare time, but his music was rarely
performed or published during his lifetime. Declining health forced him to more or
less give up composition after 1918. Only toward the end of his life did critics and
performers begin to take note of his music. By the time he died, he was recognized
as a pioneer who had challenged convention and gone against the grain well before
other American composers would take up the cause of modernism.
Charles Ives in his study, ca. 1947. He would not achieve widespread fame as a
composer until after his death, when he began to be recognized as one of the
pioneers of musical modernism.
Exploring The Unanswered Question
Listen to the Text
First, listen to Ives's composition, using the following prompts as a guide. Then
read the discussion of how the elements of music operate in this piece.
• Timbre: Listen for the distinctive sound of three different groups of
instruments: strings, solo trumpet, and a quartet of wind instruments (two flutes
and two clarinets).
• Melody: How many distinct themes can you identify?
• Texture: Listen for the layered texture of these instruments. Notice that the
strings play continuously, while the trumpet and the quartet of winds come and
go.
• Harmony: Which group plays the most conventional-sounding musical
harmonies? Which plays the most unconventional musical harmonies?
♫ Listen to This First
Charles Ives, The Unanswered Question
Contrasting Timbres
The music is performed by three contrasting groups of instruments:
• Strings: A small string orchestra of violins, violas, cellos, and double basses
plays throughout the entire work from beginning to end, without pause.
• Solo trumpet: A single trumpet interjects what Ives called “The Unanswered
Question” at five different points over the course o.
Brahms' "Wie Melodien" Op. 105 is based on a poem by Klaus Groth that evokes emotional feelings of dreaming about the past through imagery. The poem uses metaphors like "melodies" representing thoughts and memories that cannot be forgotten. Brahms' music captures the imagery through the vocal line, such as falling in register to depict a tear falling. The piano accompaniment also helps express the poem's imagery, with most of the piece in quarter notes in the voice paired with eighth notes in the piano.
This document provides context and background information about the song "Something's Coming" from the musical West Side Story, composed by Leonard Bernstein. It discusses Bernstein's background and influence of jazz and Latin American music. It describes West Side Story as a modern adaptation of Romeo and Juliet, set among rival New York gangs. The document analyzes the melody of "Something's Coming", noting it is in the key of D major sung by a tenor voice, contains intervals like the tritone, and has a diatonic yet expressive melody. It encourages learning the song's melodic themes and intervals.
Understanding Music_ Philosophy and Interpretation ( PDFDrive ).pdfOliver Ramos
This document provides an introduction and overview to the author's book on understanding music. It discusses how aesthetics emerged as a field of philosophy in the 18th century and how music was incorporated into aesthetics through concepts like imitation and expression. However, the author argues these concepts were not well defined. The summary then discusses how the author aims to provide a foundation for musical aesthetics by examining the nature of sound perception and musical elements like melody, rhythm and harmony. It also discusses how music abstracts sounds and imposes its own order independent of physical causes, allowing for metaphorical perception of musical movement.
The document discusses music and its complexity over time. It argues that while music became more advanced and complex historically, modern pop music has become simpler and more repetitive. The author believes music has experienced a "relapse" away from complexity. Throughout history, new instruments and music theory expanded music's progression, but today's popular music lacks this complexity and variation.
This document provides an overview of music, including its history, importance, elements, genres, and classification of instruments. It discusses that music gives life and connects people. The primary roles of music are in art and human life. It then explains the key elements of music like harmony, melody, rhythm, and tempo. It also outlines the essentials of songwriting and different music genres like classical, folk, jazz. Finally, it classifies musical instruments into categories like soprano, alto, tenor, bass based on their vocal range.
This document provides an introduction to basic musical concepts including rhythm, dynamics, melody, harmony, tone color, texture, and form. It defines these terms and gives examples of related musical elements and techniques. For each concept, key aspects are outlined and technical terms are introduced and defined in clear, straightforward language.
The song "River" by Joni Mitchell is a folk song about heartbreak composed in 1971. It features Mitchell's vocals accompanied by intricate piano parts. Though through-composed rather than using a standard verse-chorus form, it centers around the repeated line "I wish I had a river." The song creates a blending of Mitchell's vocals and piano through consistent chord progressions like IV-I, creating a sense of resolution between phrases. It also uses a vi-ii progression to build tension before resolving to the tonic C major chord.
The document discusses various elements of music including rhythm, tonality, melody, texture, harmony, dynamics, and structure. It provides definitions and examples of key concepts related to rhythm such as beat, pulse, meter, tempo, and syncopation. It also discusses tonality and defines scales such as major, minor, modes, pentatonic, blues, and chromatic. Melody is defined as a sequence of single notes that form the main musical line. Phrasing, contour, sequence, and motive are discussed as key melodic concepts.
The document discusses the basic elements of music including melody, rhythm, harmony, texture, form, tempo, and dynamics. It defines these terms and provides examples to describe their characteristics and how they are used in musical composition. Key points covered include the definition of melody as a musical line, characteristics of rhythm like meter and beat, how harmony involves the relationship between intervals and chords, different musical textures such as monophony and polyphony, common musical forms like binary and ternary, and how tempo and dynamics contribute to the musical expression.
This document discusses various elements of music and how they contribute to musical form and meaning. It begins by summarizing a paper on the band Korn that analyzed the interrelationship between lyrics and music using different techniques. It then defines common musical elements like timbre, texture, harmony, and rhythm. Examples are given of how elements like rhythm, harmony, melody, and instrumentation can determine musical form. Specific techniques like stop time, changes in harmony, and unusual bar structures are examined. The document concludes by outlining sections of popular music forms and providing homework tasks of adding examples to a musicology wiki.
This document provides an introduction to music theory concepts including clefs, notes, rhythm, key signatures, and more. It covers topics such as the treble and bass clefs, major and minor scales, intervals, stacking notes to form chords, simple and compound meter, and the circle of fifths for understanding key signatures. The author is a clarinet performance major who hopes to teach music. Resources for further information are also provided.
The document provides guidance for answering a Section B exam question on a musical piece. It advises that answers should be structured by addressing each bullet point in short paragraphs. Answers will be judged on knowledge of the piece, use of musical language, and quality of writing. Sample questions and answers are provided, with examiner feedback assessing the responses.
This document provides an overview of the basic elements of music, including rhythm, dynamics, melody, harmony, tone color, texture, form, and articulation. It defines these elements and provides related musical terms. For each element, examples are given to illustrate musical concepts like tempo, pitch, intervals, chords, monophonic and polyphonic texture, and musical forms like binary and ternary. Instrument families and their timbres are also briefly described.
This is a example powerpoint slide of what you might see in a 12th grade music theory class. This is an outline/introduction to root position part writing!
The document discusses various musical elements and styles. It defines rhythm as the flow of music through time, created by combining notes and rests. It describes the basic elements of rhythm including beat, meter, accent, syncopation, and tempo. It also discusses musical notation including the staff, clefs, notes, rests, and other symbols. Finally, it provides an overview of different musical styles from the Middle Ages to the 20th century.
This document provides an overview of the basic elements of music including rhythm, dynamics, melody, harmony, tone color, texture, and musical form. It defines these key terms and concepts, and gives examples to illustrate them. The chapter also introduces the six main historical periods of Western art music from the Middle Ages to the modern era, outlining some of the defining characteristics of each style period. It concludes by briefly describing Benjamin Britten's composition "The Young Person's Guide to the Orchestra", which is used to demonstrate different instrumental families and tones colors.
The document summarizes the basic elements of music - melody, rhythm, harmony, texture, and form. It defines each element and provides examples. Melody is a succession of pitches that form phrases through cadences. Rhythm deals with musical movement through time defined by beats and meters. Harmony refers to the simultaneous sounding of pitches or tones to form chords and scales. Texture describes how melodic and harmonic elements are combined, such as in monophony, polyphony, homorhythm, and homophony. Form structures music through repetition, contrast, and variation in structures like binary and ternary forms.
The document provides a listening guide for Mahler's Adagietto from his Fifth Symphony. It includes background information on the piece, describing how it has been interpreted in different contexts and associated with sorrow. It explores the piece in detail, discussing aspects for listeners to focus on, such as the use of a single instrument and long held notes. It encourages listening to different recordings to compare conducting speeds and feelings conveyed.
This document outlines the six main concepts of music - duration, pitch, dynamics and expressive techniques, tone colour, texture, and structure. For each concept, it provides definitions and terminology used to describe elements within that concept. It also includes links to audio examples for each concept.
The document provides an overview of music including its history, elements, production, and opportunities. It discusses how music developed among prehistoric humans and ancient cultures. The core elements of music like melody, pitch, scales, rhythm, harmony, and dynamics are explained. Musical forms, composition, notation, and improvisation involved in music production are covered. Finally, it briefly mentions music instruments, personalities, reality shows, courses, and career opportunities in the field of music.
This document provides a revision guide for GCSE Music. It covers the key areas of study including rhythm and metre, harmony and tonality, texture and melody, timbre and dynamics, and structure and form. It defines important musical terminology and provides example questions. It also includes a listening guide with examples of music from different genres and cultures to support learning. Websites are listed that provide audio examples of musical elements and terms to aid revision.
Chapter 46Charles Ives The Unanswered Question Composed.docxrobertad6
Chapter 46Charles Ives
The Unanswered Question
Composed: 1908
Ives, like other modernists working in the early twentieth century, was trying to
find new means of musical expression that went beyond standard conventions of
harmony and melody. Nowhere is this struggle between old and new styles more
evident than in The Unanswered Question.
Listen to the Text
Composer Profile: Charles Ives
Listen to the Text
Ives (1874–1954) both absorbed and rebelled against almost every musical
tradition of his time. The son of a Civil War bandmaster, he grew up in Danbury,
Connecticut, where he learned many different kinds of music: the orchestral
repertory of the concert hall, church hymns, band music, and popular songs in the
parlors of the town's homes. Ives worked all of these idioms into his own music,
often in the same work.
As a composer, Ives's career path also went against the grain. If a composer “has a
nice wife and some nice children,” he once asked, “how can he let them starve on
his dissonances?” His “day job” was in insurance, and as it turned out, Ives did
quite well for himself. He composed in his spare time, but his music was rarely
performed or published during his lifetime. Declining health forced him to more or
less give up composition after 1918. Only toward the end of his life did critics and
performers begin to take note of his music. By the time he died, he was recognized
as a pioneer who had challenged convention and gone against the grain well before
other American composers would take up the cause of modernism.
Charles Ives in his study, ca. 1947. He would not achieve widespread fame as a
composer until after his death, when he began to be recognized as one of the
pioneers of musical modernism.
Exploring The Unanswered Question
Listen to the Text
First, listen to Ives's composition, using the following prompts as a guide. Then
read the discussion of how the elements of music operate in this piece.
• Timbre: Listen for the distinctive sound of three different groups of
instruments: strings, solo trumpet, and a quartet of wind instruments (two flutes
and two clarinets).
• Melody: How many distinct themes can you identify?
• Texture: Listen for the layered texture of these instruments. Notice that the
strings play continuously, while the trumpet and the quartet of winds come and
go.
• Harmony: Which group plays the most conventional-sounding musical
harmonies? Which plays the most unconventional musical harmonies?
♫ Listen to This First
Charles Ives, The Unanswered Question
Contrasting Timbres
The music is performed by three contrasting groups of instruments:
• Strings: A small string orchestra of violins, violas, cellos, and double basses
plays throughout the entire work from beginning to end, without pause.
• Solo trumpet: A single trumpet interjects what Ives called “The Unanswered
Question” at five different points over the course o.
Brahms' "Wie Melodien" Op. 105 is based on a poem by Klaus Groth that evokes emotional feelings of dreaming about the past through imagery. The poem uses metaphors like "melodies" representing thoughts and memories that cannot be forgotten. Brahms' music captures the imagery through the vocal line, such as falling in register to depict a tear falling. The piano accompaniment also helps express the poem's imagery, with most of the piece in quarter notes in the voice paired with eighth notes in the piano.
This document provides context and background information about the song "Something's Coming" from the musical West Side Story, composed by Leonard Bernstein. It discusses Bernstein's background and influence of jazz and Latin American music. It describes West Side Story as a modern adaptation of Romeo and Juliet, set among rival New York gangs. The document analyzes the melody of "Something's Coming", noting it is in the key of D major sung by a tenor voice, contains intervals like the tritone, and has a diatonic yet expressive melody. It encourages learning the song's melodic themes and intervals.
Understanding Music_ Philosophy and Interpretation ( PDFDrive ).pdfOliver Ramos
This document provides an introduction and overview to the author's book on understanding music. It discusses how aesthetics emerged as a field of philosophy in the 18th century and how music was incorporated into aesthetics through concepts like imitation and expression. However, the author argues these concepts were not well defined. The summary then discusses how the author aims to provide a foundation for musical aesthetics by examining the nature of sound perception and musical elements like melody, rhythm and harmony. It also discusses how music abstracts sounds and imposes its own order independent of physical causes, allowing for metaphorical perception of musical movement.
The document discusses music and its complexity over time. It argues that while music became more advanced and complex historically, modern pop music has become simpler and more repetitive. The author believes music has experienced a "relapse" away from complexity. Throughout history, new instruments and music theory expanded music's progression, but today's popular music lacks this complexity and variation.
This document provides an overview of music, including its history, importance, elements, genres, and classification of instruments. It discusses that music gives life and connects people. The primary roles of music are in art and human life. It then explains the key elements of music like harmony, melody, rhythm, and tempo. It also outlines the essentials of songwriting and different music genres like classical, folk, jazz. Finally, it classifies musical instruments into categories like soprano, alto, tenor, bass based on their vocal range.
This document provides an introduction to basic musical concepts including rhythm, dynamics, melody, harmony, tone color, texture, and form. It defines these terms and gives examples of related musical elements and techniques. For each concept, key aspects are outlined and technical terms are introduced and defined in clear, straightforward language.
The song "River" by Joni Mitchell is a folk song about heartbreak composed in 1971. It features Mitchell's vocals accompanied by intricate piano parts. Though through-composed rather than using a standard verse-chorus form, it centers around the repeated line "I wish I had a river." The song creates a blending of Mitchell's vocals and piano through consistent chord progressions like IV-I, creating a sense of resolution between phrases. It also uses a vi-ii progression to build tension before resolving to the tonic C major chord.
The document discusses and analyzes Victor Lopez's shortened version of the song "Stairway to Heaven" by Led Zeppelin. It argues that Lopez's version fails to convey the same mood and effect as the original due to ineffective manipulation of structure, timbre, and melody. Specifically, it completely changes the genre and lacks sensitivity to the original composition's style of building harmonies like an "army." The introduction immediately features all instruments playing and attempts the chorus, contrasting Led Zeppelin's idea of one melody gradually growing.
This document discusses different types of instrumental music and their characteristics. It outlines five main types: sonata, suite, symphony, concerto, and chamber music. It provides examples of each type and influential composer associated with each. It also briefly discusses the three main types of musical instruments - strings, woodwinds, and percussion - and how they produce sound through vibration.
The document discusses the concept of timbre, which refers to the characteristic quality of a sound that allows the human ear to distinguish between different musical instruments playing the same note. Timbre is determined by the complex frequency spectrum of each note, including the relative volumes of different harmonics. Understanding timbre is important in music production, as the goal is to accurately record, store, and reproduce the characteristic timbre of different sounds and instruments. Sonograms provide a visualization of a sound's changing frequency spectrum over time, revealing the differences in timbre between instruments like violins and trumpets.
Here are a few key points regarding Schoenberg's innovations and whether he "went wrong" or not:
- Schoenberg felt tonality had been fully explored and a new system was needed to continue musical progress. Some view this as radical innovation, while others see it as a misstep away from tonality audiences enjoyed.
- His development of the twelve-tone technique was a radical break from common practice tonality. It was highly controversial but also expanded musical possibilities. Some argue it was too abstract for listeners while others see it as forward-thinking.
- Over time, his music and serialism had great influence on composers and demonstrated new compositional possibilities, even if many listeners found it difficult. Some techniques like
This document proposes using Creative Commons licenses for works released through the Slow Release music label. It discusses the original Creative Commons licenses and their combinations. The objectives are to satisfy artists, consumers, and the label by using the appropriate CC licenses for each situation. Artists would be informed about the CC license options and choose one for their works. CC licenses allow sharing while maintaining control for artists and commercial potential for the label. The optimal outcome has mutual satisfaction for all parties.
The document discusses different licensing options for creative works. It shows that the most popular license type is BY-NC, which allows non-commercial sharing and adaptation of works. The document then outlines various policy options for an organization that wants to provide both openly licensed and contracted works, including default licenses for different types of online distribution and sold/free items as well as contract-specific licenses for students, staff, and visiting artists. It also discusses models for compensating artists through royalties or donations.
Copyright, creative commons and artistic integrityyagankiely
The document discusses copyright and Creative Commons licensing. It provides background on the origins of copyright from the Statute of Anne in 1710, which established copyright for a term of 14 years. Present day copyright is discussed, along with incentives it provides for creators. Creative Commons is then introduced as an alternative that provides more flexible licensing options while still protecting artistic integrity. Some limitations of Creative Commons are also outlined. The document focuses on comparing copyright and Creative Commons, and how they relate to music composition and distribution.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
2. The Naturalism of Tonality – Part 1:
Tonal Gravity
Music - and music composition - is oft looked upon as an almost
divine ability or gift, void of explanation and (often) definition. One
point of view is that music is a language, an idea in which I share a
similar opinion. Like conventional languages, music has syntax,
semantics, grammar, etymology,and even spelling. Rather than
discussing archaic topics such as etymology I will focus on syntax,
semantics and grammar.
The ultimate question that needs to be answered is “What is
Dominant”. What makes chord V (V7) dominant, and why is it so
named. These are all essentially the same questions and have the
same single answer. Generally, the answer without any specifics is
because of tension and resolution (release) within a perfect
cadence. Chord V has a dominating effect over I, precisely because
of the tension within the relativity of chord V, especially V7.
What creates the tension in chord V, is what makes tonality
natural. Every note, no matter what produces the notes, have a
fundamental, and overtones. The first notes of these harmonics
are: Root (fundamental), 5th, 8ve, Maj3rd, 5th, b7th. If we even
3. glance at these notes, we are made aware that these are the same
notes that make V7. The notes that must be noted are the only
ones that create the tension in the chord, the Maj3rd and the b7th,
together creating the tritone, or augmented 4th (diminished 5th).
All the pent up tension in the tritone – created by the dissonance of
it – have a gravitational need to resolve to chord I (Ti-Do/Fa-Mi).
This tension is used and exploited, by composers and is effectively
used by many other artists also – obviously not in exactly the same
way. Cadences are exactly that: either resolution, tension followed
by the inevitable release; or not, tension followed by an increase in
tension because of a cadence that implies I but denies the quality
release associated with I. The flattened 7thblue note in Blues and
Jazz is effectively the 6th harmonic (5th overtone).
The powerful effect of the tritone, in the Middle Ages, was avoided
for its restless nature. It was even described as diabolus in musicā
("the Devil in music") by Guido of Arezzo. Organum avoided the
interval, as did Fux counterpoint. Lydian music called for the 4th
degree of the scale to be flattened whenever used in conjoint with
the tonic. But the tritone was eventually exploited (much within
the emotional precedent set by the naming of it as diabolus in
musicā); the fully diminished VII chord (effectively just a V7 b9)
ultimately came into popular use.
Essentially, what makes dominant dominating, is the tritone within
a note’s harmonics (especially when put into context by being
followed by dropping of a 5th). The gravitational pull the tritone to
resolve, is too great to ignore, and is the only reason why chord V
falls to I.
4. The Naturalism of Tonality – Part 2:
Exploitations
“Tonality is a natural force, like gravity„- Paul Hindemith
The reason why there is Tonal Gravity is because of the dominant,
but what are ways of exploiting it?, how do imperfect (half), plagal
or interrupted (deceptive) cadences fit in with the concept of tonal
gravity? Basically, they are there to create tension within the piece
– to prolong the dominant - , and to fool the listener.
In reality, there are only three possible chords in tonal music, Tonic,
Subdominant, and Dominant. To make music more interesting (as I,
IV and V can get laboured after a while), there are variations in
these chords. IV can also be iv, ii, or II (among a myriad of others), V
and be vii○, iii7 (and countless others ), I can be VI, bVI, to name a
few. With chord IV and V, the variants are often just that, variants
to make music more interesting, however the latter (I) it more
often attributed with attempting to fool the listener. When the
listener gets pulled towards the Tonic (through a Dominant chord)
and instead finds bIV it is (be it only slightly) a shock of sorts to
5. have resolved to the tonic yet have the release taken away all the
same.
You might ask how bIII fits within this system, and the answer is not
black and white. The only way to determine a chords function is to
assess its surroundings. Ambiguous situations may require
educated guesses, but more often than not, one can come to an
adequate decision. Backtracking slightly (Bear with me as I do
digress into listing them) the tonic can be a number of chords: I,
bIII, III, bVI, VI (Mention of their parallel minors is unimportant). It
is because of these Chromatic third relations that (which all include
at least two notes from chord I, minor or major) that a doorway is
opened for various Dominants and Subdominants. For example,
because of bIII’s relation to I, bVII (bIII’s dominant), can also be
dominant of I. Because of this, many chord have two or three
possible functions. III can be dominant as well as tonic; because of
(any variant) VI’s proximity with chord IV it can be Subdominant as
well as Tonic. To determine which of these a chord’s function
actually is, one must analyse the chords surrounding it.
Examples A and B are quite straight Chromatic Mediant borrowing.
But in example C, while both sets of progressions are logical, the
rhythm of the allotted chords do not follow logical sense (using the
lower interpretation) as it resolves before the tonic. In Example D,
6. there is no logical functionality in the chords if following the
bottom interpretation.
7. The Naturalism of Tonality – Part 3:
Inherent Tonality
“Our peasant music, naturally, is invariably tonal, if not always in the sense
that the inflexible major and minor system is tonal. (An "atonal" folk-music, in
my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind
in our creative work, it is quite self-evident that our works are quite
pronouncedly tonal in type. I must admit, however, that there was a time
when I thought I was approaching a species of twelve-tone music. Yet even in
works of that period the absolute tonal foundation is unmistakable. „ -
BelaBartók (1928). The Folk Songs of Hungary, Pro Musica VII (Oct)
With few exceptions, no matter what music we listen to, tonal
implications are present. Whether it is the Pythagorean intervals of
the wholetone and twelvetone scales, the modal and pentatonic
scales of world music, or the Modes of Limited Transposition by
Messiaen, all house some sort of tonal groundwork. Messiaen
stayed consciously away from the wholetone scale in (while listing
it as the first in his modes of limited transposition generally stayed
away from it in his pieces), purely because of its separation from
tonality as the wholetone scale avoids leading tones (See part 1).
Tonality has been used throughout cultures throughout the
centuries, in the Modal music of Persia and Europe, or the
Pentatonic Scales of Africa and Asia. The anhemitonic pentatonic
8. scale especially gets its notes (unintendedly) from the first five keys
in the circle of fifths. This domination of 5ths (as every not in the
anhemitonic pentatonic scale as it’s relative fifth), implies yet
another involvement of the Pythagorean Intervals that form
tonality. Variants of the pentatonic scale (such as the hemitonic
pentatonic scale), are mere variants of the purer anhemitonic scale.
However, the semitone in hemitonic pentatonic (C Db Eb G Ab) is
related to tonality through borrowing the leading tone from the
Ionian scale – the same leading tone that works functionally only
because of the tritone discussed in Part I. Almost as endorsement
for the tonal origins of pentatonic scales is the relative minor
pentatonic scale. Assuming that the anhemitonic pentatonic scale
starts on C, the relative minor pentatonic scale will then start on A
– Yet another borrowing from traditional tonality.
The medieval modes are evidently closely related to the traditional
tonality as they are taken from the scale degrees of any key.
Polymodality and Chromatic Polymodality are variants much like
the hemitonic pentatonic scale are variants of the anhemitonic
pentatonic scale. The inclusion of extra semitones are there purely
as a functional leading tone. Like pentatonic scales, modal music
has been extensively used by various cultures all over the world.
Finally lending to my argument that tonal music, its extensions and
variations are more natural than any version of Atonality. This is
not to say that all atonal music is unnatural, nor is it to demean
atonal music, it is merely to illustrate tonalities consistent part in
music. Tonality has always been with music, consciously or not, has
survived the tonal crisis of the early to mid twentieth century and is
sure to survive as long as we could imagine.
Naturamexpellasfurca, tamenusquerevenit.(You can drive nature out with a
pitchfork, she will nevertheless come back) – Horace (65-8 BC), Epistles I.X.24.
9. Bibliography
B.Hyer: 'Tonality', Grove Music Online ed. L. Macy (Accessed 25 March
2008), <http://www.grovemusic.com>
E.T.Cone: 'Beyond Analysis', Perspectives of New Music, Vol. 6, No. 1.
(Autumn - Winter, 1967), pp. 33-51. (Accessed 25 March 2008),
<http://links.jstor.org/sici?sici=0031-
6016%28196723%2F24%296%3A1%3C33%3ABA%3E2.0.CO%3B2-7 >
W.Thomson: 'Hindemith's Contribution to Music Theory', Journal of Music
Theory, Vol. 9, No. 1. (Spring, 1965), pp. 52-71. (Accessed 25 March 2008),
<http://links.jstor.org/sici?sici=0022-
2909%28196521%299%3A1%3C52%3AHCTMT%3E2.0.CO%3B2-D>
C.Brower: 'A Cognitive Theory of Musical Meaning', Journal of Music Theory,
Vol. 44, No. 2. (Autumn, 2000), pp. 323-379. (Accessed 25 March 2008),
<http://links.jstor.org/sici?sici=0022-
2909%28200023%2944%3A2%3C323%3AACTOMM%3E2.0.CO%3B2-F>
Stewart, Ian. 2001. What shape is a snowflake?. Great Britain:
Weidenfeld& Nicolson