Unit 1 - Carroll County Schools
... *Explore the half note through movement *Identify two tied quarter notes and half note *Identify half rest *Perform simple ostinato to accompany chants *Perform an American Folk Song Vocabulary: *low do *half note *tied notes *half rest *ostinato *folk song Standards Addressed: *AH-P-SA-S-Mu1: begin ...
... *Explore the half note through movement *Identify two tied quarter notes and half note *Identify half rest *Perform simple ostinato to accompany chants *Perform an American Folk Song Vocabulary: *low do *half note *tied notes *half rest *ostinato *folk song Standards Addressed: *AH-P-SA-S-Mu1: begin ...
Prime Numbers in Music Tonality
... spirit, say that Equal Temperament is lacking because it is not based on “pure” simple ratios. In Equal Temperament the question is not what prime limit to use, but how many evenly spaced steps to use. One can certainly build a scale out of whole ratios and then equally temper the results, but this ...
... spirit, say that Equal Temperament is lacking because it is not based on “pure” simple ratios. In Equal Temperament the question is not what prime limit to use, but how many evenly spaced steps to use. One can certainly build a scale out of whole ratios and then equally temper the results, but this ...
20th Century
... Berg are a group of composers working in Vienna at the turn of the Century who are sometimes called the Second Viennese school • In his early music Schoenberg wrote in the expressive late romantic style. • As the music became increasingly chromatic it ultimately became ATONAL, rejecting key or tonal ...
... Berg are a group of composers working in Vienna at the turn of the Century who are sometimes called the Second Viennese school • In his early music Schoenberg wrote in the expressive late romantic style. • As the music became increasingly chromatic it ultimately became ATONAL, rejecting key or tonal ...
7th Grade Planned Course Guide - Penn
... the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally identify intervals in the major scale. 11. Identify and interpret major key signatures up to ...
... the piano accompaniment correctly on the grand staff. 9. Identify/define the following key terms: unison, melody, harmony, a cappella, pitch, rhythm, diction, dynamics, articulation. 10. Visually and aurally identify intervals in the major scale. 11. Identify and interpret major key signatures up to ...
Brief background The tonal hierarchy The first probe tone study
... Establish that the elements that dominate in the quantified hierarchy have special perceptual and cognitive status, with other elements heard in relation to them ...
... Establish that the elements that dominate in the quantified hierarchy have special perceptual and cognitive status, with other elements heard in relation to them ...
paper - Personal Web Pages
... series of intra-related pitch classes (scale) to another, and some kind of return to the initial series. In many cases such modulation depends on what pitch classes and motifs are shared between a given series and its successor. As analogous to such types of music, it was found desirable to develop ...
... series of intra-related pitch classes (scale) to another, and some kind of return to the initial series. In many cases such modulation depends on what pitch classes and motifs are shared between a given series and its successor. As analogous to such types of music, it was found desirable to develop ...
Composition.
... when and by whom they were created. Myths may treat compositions simply as ‘texts’ with specific uses, or they may account for the creation as well as the uses of the texts. A powerful rationale for reproducing an existing series of compositions is provided by beliefs that the series preserves the ‘ ...
... when and by whom they were created. Myths may treat compositions simply as ‘texts’ with specific uses, or they may account for the creation as well as the uses of the texts. A powerful rationale for reproducing an existing series of compositions is provided by beliefs that the series preserves the ‘ ...
Grade 8 Playing Test #2 (February 2017) /42 Name: Date
... unsatisfactory. Sound is weak and/or sound uncharacteristic of the instrument. ...
... unsatisfactory. Sound is weak and/or sound uncharacteristic of the instrument. ...
musical scales and cantonese level tones
... three different tones picked out from the LTS. Needless to say, the pitch of the first tone is arbitrary. By extensive observation, the pitch choice for the second tone is not yet defined even after the first tone is fixed. Otherwise, all tones will be generated from the antecedent ones and Cantones ...
... three different tones picked out from the LTS. Needless to say, the pitch of the first tone is arbitrary. By extensive observation, the pitch choice for the second tone is not yet defined even after the first tone is fixed. Otherwise, all tones will be generated from the antecedent ones and Cantones ...
Last_news_largeMPGD - Indico
... Possibility to make large patterns in some of them They have already produced some small BULKS Other details are being discussed We are ready to discuss also with any other company ...
... Possibility to make large patterns in some of them They have already produced some small BULKS Other details are being discussed We are ready to discuss also with any other company ...
Relations between Keys and Modes
... modes in addition to the whole-tone scale (‘Mode 1’) and the two octatonic scales in general use (‘Modes 2 and 3’ discussed under 13 below and 5 above). Their symmetry was such that they could be transposed only a certain number of times before their content repeated itself: each of Modes 4, 5, 6 an ...
... modes in addition to the whole-tone scale (‘Mode 1’) and the two octatonic scales in general use (‘Modes 2 and 3’ discussed under 13 below and 5 above). Their symmetry was such that they could be transposed only a certain number of times before their content repeated itself: each of Modes 4, 5, 6 an ...
Music Elements
... Important Note For All of the Arts!!! In all of the arts, BALANCE is required. The artist balances REPETITION and CONTRAST. Repetition provides an “anchor” for us to remember what the artist wants to fix in our minds. ...
... Important Note For All of the Arts!!! In all of the arts, BALANCE is required. The artist balances REPETITION and CONTRAST. Repetition provides an “anchor” for us to remember what the artist wants to fix in our minds. ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... pedal point register reiteration / repetition return mixed-interval chords -- a chord that combines 2 or more interval types (with their inversions / compounds) to form a complex sonority neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; ...
... pedal point register reiteration / repetition return mixed-interval chords -- a chord that combines 2 or more interval types (with their inversions / compounds) to form a complex sonority neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; ...
A Field Guide to Chromaticism
... different tonicizations in the next eight bars, in the course of which all twelve pitch-classes appear in the changing harmony, without nonharmonic tones — five different accidental signs, like the black keys (although this waltz is in B major). This is "total chromaticism" of the tonal variety. We ...
... different tonicizations in the next eight bars, in the course of which all twelve pitch-classes appear in the changing harmony, without nonharmonic tones — five different accidental signs, like the black keys (although this waltz is in B major). This is "total chromaticism" of the tonal variety. We ...
7609.01 A2 (Part 2) Written Paper (Summer 2012).indd
... you have, in the speed, the very regular rapid repeated notes – always in semiquavers. Finally at the end there is a regularity, a kind of metre – but with much ornamentation. The ornamentation is in fact very irregular, but the metre itself is very regular.’ ...
... you have, in the speed, the very regular rapid repeated notes – always in semiquavers. Finally at the end there is a regularity, a kind of metre – but with much ornamentation. The ornamentation is in fact very irregular, but the metre itself is very regular.’ ...
String Instrument Extended Techniques
... Scordatura tuning A scordatura (literally Italian for "mistuning"), also called cross-tuning. Use of alternative tunings allows the playing of otherwise impossible note sequences, double stops, chords or other note combinations, or can be used to create unusual timbres. Mahler’s 4th Symphony involve ...
... Scordatura tuning A scordatura (literally Italian for "mistuning"), also called cross-tuning. Use of alternative tunings allows the playing of otherwise impossible note sequences, double stops, chords or other note combinations, or can be used to create unusual timbres. Mahler’s 4th Symphony involve ...
meter
... A Clef is placed at the beginning of each line of music, and this tells us what letter names go on each line and space of that particular staff. The treble clef is a fancy letter G. The curved line terminates at the second line of the staff, thus designating the letter name of the note on that line ...
... A Clef is placed at the beginning of each line of music, and this tells us what letter names go on each line and space of that particular staff. The treble clef is a fancy letter G. The curved line terminates at the second line of the staff, thus designating the letter name of the note on that line ...
Characterisation of composer style using high
... The score analyser program first parses the score data into a series of vertical notegroup objects in accordance with rhythmic information. Every new rhythmic value prompts the creation of a new vertical notegroup object, into which the values of still sounding notes are carried over. Voice and note ...
... The score analyser program first parses the score data into a series of vertical notegroup objects in accordance with rhythmic information. Every new rhythmic value prompts the creation of a new vertical notegroup object, into which the values of still sounding notes are carried over. Voice and note ...
intervals and scales
... notes). Example 1 is a C Major scale; every letter in ascending order from C to high C. In choir practice we often sing major scales during our warmup. The order of semitones and whole tones in the scale defines the type of scale. The order of whole tones and semitones for a major scale is: W W S W ...
... notes). Example 1 is a C Major scale; every letter in ascending order from C to high C. In choir practice we often sing major scales during our warmup. The order of semitones and whole tones in the scale defines the type of scale. The order of whole tones and semitones for a major scale is: W W S W ...
Ben Johnston Pantonality Generalized
... differentiated system of 7 note-names modified by one of 5 possible accidentals, allowing for 35 possible notations (a legacy of Meantone temperaments, which had prevailed in European musical practice for almost 400 years). The most significant characteristic of these conventions was in fact their d ...
... differentiated system of 7 note-names modified by one of 5 possible accidentals, allowing for 35 possible notations (a legacy of Meantone temperaments, which had prevailed in European musical practice for almost 400 years). The most significant characteristic of these conventions was in fact their d ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... and new sounds`.50 This could refer to the waiving of employing microtones in an atonal context but also to the use of microtones in a tonal context. An interesting combination of both concepts can be found in his Concertino written for the Philadelphia Orchestra in 1927: there are no microtones in ...
... and new sounds`.50 This could refer to the waiving of employing microtones in an atonal context but also to the use of microtones in a tonal context. An interesting combination of both concepts can be found in his Concertino written for the Philadelphia Orchestra in 1927: there are no microtones in ...
The History and Evolution of the Musical Symbol
... extra symbols such as accidentals were solved comparatively rapidly. Eventually the modern version of music notation was established with the help of widespread music printing practices. Despite its drawbacks, particularly in notating non-diatonic pitches and complex rhythms, conventional modern not ...
... extra symbols such as accidentals were solved comparatively rapidly. Eventually the modern version of music notation was established with the help of widespread music printing practices. Despite its drawbacks, particularly in notating non-diatonic pitches and complex rhythms, conventional modern not ...
Word Doc
... performed incorrectly or inconsistently. Major errors present Demonstrates basic knowledge of articulation; consistent major errors are made ...
... performed incorrectly or inconsistently. Major errors present Demonstrates basic knowledge of articulation; consistent major errors are made ...
A Comparison between Genetic and Memetic Algorithm
... this difficulty, automated music composition would benefit many groups of people who ought to use a piece of their own music, as composed for them by an AI system with compositional intelligence, without someone else’s copyright for some purpose such as a music piece for a commercial, or a song play ...
... this difficulty, automated music composition would benefit many groups of people who ought to use a piece of their own music, as composed for them by an AI system with compositional intelligence, without someone else’s copyright for some purpose such as a music piece for a commercial, or a song play ...
Musical Acoustics Interval, Scales, Tuning and Temperament
... • Last triad (F,A,Cf): easier to start with Cf backwards. To the get the next set of 4:5:6 frequency ratios à multiply Cf by 4/6, 5/6, and 6/6 à F = 2x(4/6) = 8/6 = 4/3, ...
... • Last triad (F,A,Cf): easier to start with Cf backwards. To the get the next set of 4:5:6 frequency ratios à multiply Cf by 4/6, 5/6, and 6/6 à F = 2x(4/6) = 8/6 = 4/3, ...