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c_6qbuiu8kymt6 | In 2017, Scott Saewitz brought attention to this concept by highlighting the occurrence in Anton Webern's Op.16 No.2. Compositions that do not follow a fixed structure and rely more on improvisation are considered free-form. | Musical form |
c_il2ucxqw0n2c | A fantasia is an example of this. Composer Debussy in 1907 wrote that, "I am more and more convinced that music is not, in essence, a thing that can be cast into a traditional and fixed form. It is made up of colors and rhythms." | Musical form |
c_ef6tqtc9uv4a | In music, function (also referred to as harmonic function) is a term used to denote the relationship of a chord or a scale degree to a tonal centre. Two main theories of tonal functions exist today: The German theory created by Hugo Riemann in his Vereinfachte Harmonielehre of 1893, which soon became an international s... | Diatonic function |
c_gbodgjs1qxbv | The Viennese theory, characterized by the use of Roman numerals to denote the chords of the tonal scale, as developed by Simon Sechter, Arnold Schoenberg, Heinrich Schenker and others, practiced today in Western Europe and the United States. This theory in origin was not explicitly about tonal functions. It considers t... | Diatonic function |
c_9hxbh3jxdax2 | That this actually describes what could be termed the "function" of the chords becomes quite evident in Schoenberg's Structural Functions of Harmony of 1954, a short treatise dealing mainly with harmonic progressions in the context of a general "monotonality".Both theories find part of their inspiration in the theories... | Diatonic function |
c_dewhg8r0wiqn | In music, gesture is any movement, either physical (bodily) or mental (imaginary). As such "gesture" includes both categories of movements required to produce sound and categories of perceptual moves associated with those gestures. The concept of musical gestures has received much attention in various musicological dis... | Musical gesture |
c_u14j9jcbiol2 | In music, harmony is the concept of combining different sounds together in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, d... | Harmony vocal |
c_23s9g61mm90u | The principles of connection that govern these structures have been the subject of centuries worth of theoretical work and vernacular practice alike.Drawing both from music theoretical traditions and the field of psychoacoustics, its perception in large part consists of recognizing and processing consonance, a concept ... | Harmony vocal |
c_x8lyf39ib100 | In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. The notion of counterpoint seeks to understand and describe the relationships between melodic lin... | Harmony vocal |
c_gp46nrxttq4d | Therefore, it is sometimes seen as a type of harmonic understanding, and sometimes distinguished from harmony.Typically, in the classical common practice period a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between conson... | Harmony vocal |
c_6mm3xtlct16t | In music, harmony is the use of simultaneous pitches (tones, notes), or chords. : p. 15 The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. | Music Theory |
c_h1yxta19c0ec | Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect. Counterpoint, which refers to the interweaving of melodic lines, and polyphony, which refers to the relationship of separate independent voices, is thus sometimes distinguished from harmony.... | Music Theory |
c_dbabyk26kj7t | In many types of music, notably Baroque, Romantic, modern, and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. It is part of a chord, but is not one of the chord tones (1 3 5 7). | Music Theory |
c_gg7jsoego0ow | Typically, in the classical common practice period a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxe... | Music Theory |
c_i9fi7c0z9flp | In music, inharmonicity is the degree to which the frequencies of overtones (also known as partials or partial tones) depart from whole multiples of the fundamental frequency (harmonic series). Acoustically, a note perceived to have a single distinct pitch in fact contains a variety of additional overtones. Many percus... | Inharmonicity |
c_g18orgns41m5 | An ideal, homogeneous, infinitesimally thin or infinitely flexible string or column of air has exact harmonic modes of vibration. In any real musical instrument, the resonant body that produces the music tone—typically a string, wire, or column of air—deviates from this ideal and has some small or large amount of inhar... | Inharmonicity |
c_ghlntrsagb3a | However, in stringed instruments such as the piano, violin, and guitar, or in some Indian drums such as tabla, the overtones are close to—or in some cases, quite exactly—whole number multiples of the fundamental frequency. Any departure from this ideal harmonic series is known as inharmonicity. The less elastic the str... | Inharmonicity |
c_1crefsrkuth9 | When a string is bowed or tone in a wind instrument initiated by vibrating reed or lips, a phenomenon called mode-locking counteracts the natural inharmonicity of the string or air column and causes the overtones to lock precisely onto integer multiples of the fundamental pitch, even though these are slightly different... | Inharmonicity |
c_8aes2idj73gx | In music, intonation is the pitch accuracy of a musician or musical instrument. Intonation may be flat, sharp, or both, successively or simultaneously. In vocal music, intonation also signifies the singing of an opening phrase. | Musical intonation |
c_jaeoe4kn7r9b | In music, just intonation or pure intonation is the tuning of musical intervals as whole number ratios (such as 3:2 or 4:3) of frequencies. An interval tuned in this way is said to be pure, and is called a just interval. Just intervals (and chords created by combining them) consist of tones from a single harmonic serie... | Helmholtz-Ellis notation |
c_m2y6w2htb5m0 | The interval ratio between C4 and G3 is therefore 4:3, a just fourth. In Western musical practice, bowed instruments such as violins, violas, cellos, and double basses are tuned using pure fifths or fourths. | Helmholtz-Ellis notation |
c_7bncq74ezh1p | In contrast, keyboard instruments are rarely tuned using only pure intervals—the desire for different keys to have identical intervals in Western music makes this impractical. Some instruments of fixed pitch, such as electric pianos, are commonly tuned using equal temperament, in which all intervals other than octaves ... | Helmholtz-Ellis notation |
c_mtbx5iej4pbv | The phrase "just intonation" is used both to refer to one specific version of a 5-limit diatonic intonation, that is, Ptolemy's Intense Diatonic, as well to a whole class of tunings which use whole number intervals derived from the harmonic series. In this sense, "just intonation" is differentiated from equal temperame... | Helmholtz-Ellis notation |
c_x3ucclqrg4kg | In music, klang (also "clang") is a term sometimes used to translate the German Klang, a highly polysemic word. Technically, the term denotes any periodic sound, especially as opposed to simple periodic sounds (sine tones). In the German lay usage, it may mean "sound" or "tone" (as synonymous to Ton), "musical tone" (a... | Klang (music) |
c_gaaxk7expdqd | The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory. Both Hugo Riemann and Heinrich Schenker implicitly or explicitly refer to the theory of the chord of nature (which they recognize as a triad, a Dreiklang), but both reject the theory as a foundation of music... | Klang (music) |
c_emk8owjzf6ot | In music, letter notation is a system of representing a set of pitches, for example, the notes of a scale, by letters. For the complete Western diatonic scale, for example, these would be the letters A-G, possibly with a trailing symbol to indicate a half-step raise (sharp, ♯) or a half-step lowering (flat, ♭). This is... | Letter notation |
c_mfwlavacheu7 | In traditional Irish music, where almost all tunes are restricted to two octaves, for notes in the lower octave to written in lower case while those in the upper octave to be written in upper case. If we consider the chromatic scale, new sounds are obtained by lowering or raising the 7 diatonic notes by a semitone by m... | Letter notation |
c_6mk174yq8tqp | In music, major fourth and minor fifth are intervals from the quarter-tone scale, named by Ivan Wyschnegradsky to describe the tones surrounding the tritone (F♯/G♭) found in the more familiar twelve-tone scale, as shown in the table below: | Major fourth and minor fifth |
c_aylzo72psesb | In music, mathematical processes based on probability can generate stochastic elements. Stochastic processes may be used in music to compose a fixed piece or may be produced in performance. Stochastic music was pioneered by Iannis Xenakis, who coined the term stochastic music. Specific examples of mathematics, statisti... | Stochastic |
c_bzefnkhtk0zn | Xenakis frequently used computers to produce his scores, such as the ST series including Morsima-Amorsima and Atrées, and founded CEMAMu. Earlier, John Cage and others had composed aleatoric or indeterminate music, which is created by chance processes but does not have the strict mathematical basis (Cage's Music of Cha... | Stochastic |
c_mdauowak59ep | Lejaren Hiller and Leonard Issacson used generative grammars and Markov chains in their 1957 Illiac Suite. Modern electronic music production techniques make these processes relatively simple to implement, and many hardware devices such as synthesizers and drum machines incorporate randomization features. Generative mu... | Stochastic |
c_tyxt1vedsb2z | In music, metre (Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener.A variety of systems exist ... | Metric hierarchy |
c_4si330qx1wo0 | The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance involving sequences of notes, words, or movements that may last four, eight or sixteen bars.Metre is related to and distinguished from pulse, rhythm (gr... | Metric hierarchy |
c_k9xvvd4ffnut | In music, metric modulation is a change in pulse rate (tempo) and/or pulse grouping (subdivision) which is derived from a note value or grouping heard before the change. Examples of metric modulation may include changes in time signature across an unchanging tempo, but the concept applies more specifically to shifts fr... | Metric modulation |
c_uqrsdduyltnv | Metric modulation was first described by Richard Franko Goldman while reviewing the Cello Sonata of Elliott Carter, who prefers to call it tempo modulation. Another synonymous term is proportional tempi. A technique in which a rhythmic pattern is superposed on another, heterometrically, and then supersedes it and becom... | Metric modulation |
c_48fwhdbjj849 | In music, miracle temperament is a regular temperament discovered by George Secor in 1974 which has the eponymous secor as a generator, serving as both the 15:14 and 16:15 semitones. Because 15:14 and 16:15 are equated, their ratio 225:224 ( 15 14 ÷ 16 15 = 225 224 ) \left({\tfrac {15}{14}}\div {\tfrac {16}{15}}={\tfra... | Miracle temperament |
c_4dwsb162n326 | This gives the seven-limit version of miracle. A septimal whole tone of 8:7 as we have seen is approximated by two secors, and a neutral third of 11:9 by three secors. In miracle, a minor third plus a septimal whole tone is also equated with the 11th harmonic. | Miracle temperament |
c_bjh7oeykl7bb | This means that the gap between a minor third plus a septimal whole tone ( 8 7 × 6 5 = 48 35 ) \left({\tfrac {8}{7}}\times {\tfrac {6}{5}}={\tfrac {48}{35}}\right) and the 11th harmonic (an 11:8 ratio), 385:384 ( 11 8 ÷ 48 35 = 385 384 ) \left({\tfrac {11}{8}}\div {\tfrac {48}{35}}={\tfrac {385}{384}}\right) , is also ... | Miracle temperament |
c_elglr0xru3ju | While this also tempers out 4375:4374 (the ragisma), doing this is not regarded as a part of the definition of miracle temperament. Miracle temperament, particularly in the ten note Miracle scale () and the distributionally even scale known as Blackjack (). The twenty-one note Blackjack scale is derived from twenty suc... | Miracle temperament |
c_ffo55w6d2kf3 | In music, modulation is the change from one tonality (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. | Common-tone modulation |
c_u8s849m346hf | Treatment of a chord as the tonic for less than a phrase is considered tonicization. Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation. | Common-tone modulation |
c_af8x65363muh | In music, moment form is defined as "a mosaic of moments", and, in turn, a moment is defined as a "self-contained (quasi-)independent section, set off from other sections by discontinuities". | Moment form |
c_kj4dcjy93c76 | In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. Th... | Monody |
c_k7pl8jx3oyr3 | No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments"). In poetry, the term monody has become specialized to refer to a poem in which one person laments another's d... | Monody |
c_ejwr9yzn22s1 | In music, monophony is the simplest of musical textures, consisting of a melody (or "tune"), typically sung by a single singer or played by a single instrument player (e.g., a flute player) without accompanying harmony or chords. Many folk songs and traditional songs are monophonic. A melody is also considered to be mo... | Monophonic music |
c_4xu3alwdy9wt | The musical texture of a song or musical piece is determined by assessing whether varying components are used, such as an accompaniment part or polyphonic melody lines (two or more independent lines). In the Early Middle Ages, the earliest Christian songs, called plainchant (a well-known example is Gregorian chant), we... | Monophonic music |
c_jdeebi22w8to | Even into the twenty-first century, songwriters still often write songs that intersperse sections using monophony, heterophony (two singers or instrumentalists doing varied versions of the same melody together), polyphony (two or more singers or instrumentalists playing independent melodic lines at the same time), homo... | Monophonic music |
c_tj101o8hlpan | In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages were produced by gl... | Musical collage |
c_6e03bbv2yt8c | In music, notably in jazz, a ghost note (or a dead, muted, silenced or false note) is a musical note with a rhythmic value, but no discernible pitch when played. In musical notation, this is represented by an "X" for a note head instead of an oval, or parentheses around the note head. It should not be confused with the... | Ghost note |
c_eeidndzhlf95 | "Muted to the point where it is more percussive sounding than obvious and clear in pitch. There is a pitch, to be sure, but its musical value is more rhythmic than melodic or harmonic...they add momentum and drive to any bass line." Occurring in a rhythmic figure, they are purposely deemphasized, often to the point of ... | Ghost note |
c_g2o62kt5c6wl | In popular music drumming, ghost notes are ones played "very softly between the 'main' notes," (off the beat on the sixteenth notes) most often on the snare drum in a drum kit. Ghost notes are often used by electric bass players and double bass players in a range of popular music and traditional music styles. In vocal ... | Ghost note |
c_tnbgr2k52wkm | In music, notes inégales is a performance practice, mainly from the Baroque and Classical music eras, in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short. The practice was especially prevalent in France in the 17th and 18th centuries, with appea... | Notes inégales |
c_1v3bmxhr2sqf | In music, number refers to an individual song, dance, or instrumental piece which is part of a larger work of musical theatre, opera, or oratorio. It can also refer either to an individual song in a published collection or an individual song or dance in a performance of several unrelated musical pieces as in concerts a... | Musical numbers |
c_6yz5holryyma | In music, paradigmatic analysis was a method of musical analysis developed by Nicolas Ruwet during the 1960s but later named by others. It is "based on the concept of 'equivalence'. Ruwet argued that the most striking characteristic of musical syntax was the central role of repetition – and, by extension, of varied rep... | Paradigmatic analysis |
c_c1ec80kwgk5w | Paradigmatic analysis assumes that Roman Jakobson's description of the poetic system (1960, p. 358) applies to music and that in both a "projection of the principle of equivalence from the axis of selection on to the axis of combination" occurs. Thus paradigmatic analyses are able to base the assignment of units entire... | Paradigmatic analysis |
c_8muwei0udj5k | In music, parallel harmony, also known as harmonic parallelism, harmonic planing or parallel voice leading, is the parallel movement of two or more melodies (see voice leading). | Parallel harmony |
c_x1lw6qtyj8o9 | In music, particularly Western popular music, a post-chorus (or postchorus) is a section that appears after the chorus. The term can be used generically for any section that comes after a chorus, but more often refers to a section that has similar character to the chorus, but is distinguishable in close analysis. The c... | Post-chorus |
c_j3vul7iennyk | In music, pieces or sections which confound expectations and may be or are interpreted simultaneously in different ways are ambiguous, such as some polytonality, polymeter, other ambiguous meters or rhythms, and ambiguous phrasing, or (Stein 2005, p. 79) any aspect of music. The music of Africa is often purposely ambig... | Lexical ambiguity |
c_spaeacrztfx8 | In music, polymodal chromaticism is the use of any and all musical modes sharing the same tonic simultaneously or in succession and thus creating a texture involving all twelve notes of the chromatic scale (total chromatic). Alternately it is the free alteration of the other notes in a mode once its tonic has been esta... | Polymodal chromaticism |
c_ua1xetb2yewv | The concept was indicated by Bartók's folk-music-derived view of each note of the chromatic scale as being "of equal value" and thus to be used "freely and independently" (autobiography) and supported by references to the conception below in his Harvard Lectures (1943). The concept may be extended to the construction o... | Polymodal chromaticism |
c_1g2f2j6n2sj5 | Consequently, he started investigating if the same pattern could be established in some way in the beginning of any scales and came to realise that superimposing a Phrygian and a Lydian scale with the same tonic resulted in what looked like a chromatic scale. Bartók's twelve-tone Phrygian/Lydian polymode, however, diff... | Polymodal chromaticism |
c_pgq7hqhzs2yk | Alterations in the twelve-tone Phrygian/Lydian polymode, the other hand, were "diatonic ingredients of a diatonic modal scale." Melodies could be developed and transformed in novel ways through diatonic extension and chromatic compression, while still having coherent links to their original forms. Bartók described this... | Polymodal chromaticism |
c_nx08o7cvvr0c | Bartók started to superimpose all possible diatonic modes on each other in order to extend and compress melodies in ways that suited him, unrestricted by Baroque-Romantic tonality as well as strict serial methods such as the twelve-tone technique. In 1941, Bartók's ethnomusicological studies brought him into contact wi... | Polymodal chromaticism |
c_ivxqey2ayacj | The discovery inspired him to continue to develop the technique. Examples of Bartók's use of the technique include No. 80 ("Hommage à R. Sch.") | Polymodal chromaticism |
c_i590e0y47ljf | from Mikrokosmos featuring C Phrygian/Lydian (C–D♭–E♭–F–G–A♭–B♭–C/C–D–E–F♯–G–A–B–C). Lendvai identifies the technique in the late works of Modest Mussorgsky, Richard Wagner, Franz Liszt, and Giuseppe Verdi. == References == | Polymodal chromaticism |
c_6utjzjtsfvse | In music, portamento (plural: portamenti, from old Italian: portamento, meaning "carriage" or "carrying") is a pitch sliding from one note to another. The term originated from the Italian expression "portamento della voce" ("carriage of the voice"), denoting from the beginning of the 17th century its use in vocal perfo... | Pitch bending |
c_g2qqns7ygy3u | In music, prosody is the way the composer sets the text of a vocal composition in the assignment of syllables to notes in the melody to which the text is sung, or to set the music with regard to the ambiance of the lyrics. However, the relationship between syllables and melodic notes is just one dimension of musical pr... | Prosody (music) |
c_gmalbbcr54a2 | In this sense, even the number of lines in a verse or a verse's rhyme scheme can be used to create or enhance prosody.For example, a songwriter might align downbeats or accents with stressed syllables or important words, or create musical accompaniment to the meter of the lyrics. Also, prosody can mean how the music su... | Prosody (music) |
c_tpwpdjva96x5 | For example, the mood of the music typically matches that of the lyrical content: for example, when the lyrics address a sad topic, the music would sound sad, perhaps using minor chords. Of course, composers might work differently, setting a textual mood against a contrasting musical mood. However, the term "prosody" t... | Prosody (music) |
c_01hcklo6t2ro | According to Mark Altrogge: "Generally when writing songs and poetry, we want to accent a phrase like we'd speak it." Melodies that do not come relatively close to approximating speech make the words hard to understand; melodies that go beyond the point of clarity and come even closer to approximating speech make the s... | Prosody (music) |
c_uj73h68u8biy | In music, quartal harmony is the building of harmonic structures built from the intervals of the perfect fourth, the augmented fourth and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B♭. Quintal harmony is harmonic structure preferring the perfect fi... | Quartal and quintal harmony |
c_ej81dr2eipf2 | In music, relative keys are the major and minor scales that have the same key signatures (enharmonically equivalent), meaning that they share all the same notes but are arranged in a different order of whole steps and half steps. A pair of major and minor scales sharing the same key signature are said to be in a relati... | Relative triad |
c_r5tfk3afj5c8 | For example, F major and D minor both have one flat in their key signature at B♭; therefore, D minor is the relative minor of F major, and conversely F major is the relative major of D minor. The tonic of the relative minor is the sixth scale degree of the major scale, while the tonic of the relative major is the third... | Relative triad |
c_678ph0kicy7r | The relative relationship may be visualized through the circle of fifths. Relative keys are a type of closely related keys, the keys between which most modulations occur, because they differ by no more than one accidental. Relative keys are the most closely related, as they share exactly the same notes. | Relative triad |
c_y5dxr45fo6ru | The major key and the minor key also share the same set of chords. In every major key, the triad built on the first degree (note) of the scale is major, the second and third are minor, the fourth and fifth are major, the sixth minor and the seventh is diminished. In the relative minor, the same triads pertain. Because ... | Relative triad |
c_evkh6ughi8jz | In music, segue is a direction to the performer. It means continue (the next section) without a pause. The term attacca is used synonymously. For written music, it implies a transition from one section to the next without any break. | Segue |
c_s1mcgs3a89sf | In improvisation, it is often used for transitions created as a part of the performance, leading from one section to another. In live performance, a segue can occur during a jam session, where the improvisation of the end of one song progresses into a new song. Segues can even occur between groups of musicians during l... | Segue |
c_r47s3rfvi9bd | For example, as one band finishes its set, members of the following act replace members of the first band one by one, until a complete band swap occurs. In recorded music, a segue sometimes means a seamless change between one song and another, sometimes achieved through beatmatching, especially on dance and disco recor... | Segue |
c_e1kfcxqdg6si | However, as noted by composer John Williams in the liner notes for his Star Wars soundtrack album, a series of musical ideas can be juxtaposed with no transitions whatsoever. Arrangements that involve or create the effect of a classical musical suite, may be used in many pieces or progressive rock recordings, but by de... | Segue |
c_xllftxf7r7vf | This was first used in 1966 on Zappa's Freak Out!, and a year later on the Beatles' Sgt. Pepper's Lonely Hearts Club Band.In some Brazilian musical styles, where it is called "emendar" ("to splice"), in particular in Samba and Forró Pé de Serra, it is very commonly used in live performances, creating sets that usually ... | Segue |
c_51ms618izn4w | In Forró trios, where the only pitch instrument (apart from the voice) is the accordion (which plays together with two percussionists), the accordionist usually "puxa" ("pulls") the next song as soon as the previous has finished. Some album notations distinguish track listings through the use of symbols, such as a >, →... | Segue |
c_ijeb2ohh77wr | In music, septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.7 cents wide, which is narrower than a quarter-tone but wider than the septimal comma. It may also be the ratio 36:35, or 48.77 cent... | Septimal diesis |
c_82peqiwncdkl | In music, septimal meantone temperament, also called standard septimal meantone or simply septimal meantone, refers to the tempering of 7-limit musical intervals by a meantone temperament tuning in the range from fifths flattened by the amount of fifths for 12 equal temperament to those as flat as 19 equal temperament,... | Septimal meantone temperament |
c_vhk03yp5cg0h | A♯+++ ≈ B♭C — G — D — A+ — E+ — B+ — F♯++ — C♯++ — G♯++ — D♯++ — A♯+++ C — ≈G — ≈D — ≈A+ — ≈E+ — ≈B+ — ≈F♯++ — ≈C♯++ — ≈G♯++ — ≈D♯++ — =B♭The meantone tuning with pure 5:4 intervals (quarter-comma meantone) has a fifth of size 696.58 cents . Similarly, the tuning with pure 7:4 intervals has a fifth of size 696.88 cents... | Septimal meantone temperament |
c_390hoxp88lma | In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone... | Total serialism |
c_0gr4zvpuywby | The idea of serialism is also applied in various ways in the visual arts, design, and architecture, and the musical concept has also been adapted in literature.Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch. Other terms, used especially i... | Total serialism |
c_ft7540vu30i1 | In music, sharp, dièse (from French), or diesis (from Greek)means, "higher in pitch". More specifically, in musical notation, sharp means "higher in pitch by one semitone (half step)". A sharp is the opposite of a flat, a lowering of pitch. The ♯ symbol itself is conjectured to be a condensed form of German ligature ſc... | Double sharp |
c_0qqsdhut0k8f | In music, sight-reading, also called a prima vista (Italian meaning "at first sight"), is the practice of reading and performing of a piece in a music notation that the performer has not seen or learned before. Sight-singing is used to describe a singer who is sight-reading. Both activities require the musician to play... | Sight singing |
c_wdx2n22w7gwy | In music, soundscape compositions are often a form of electronic music, or electroacoustic music. Composers who use soundscapes include real-time granular synthesis pioneer Barry Truax, Hildegard Westerkamp, and Luc Ferrari, whose Presque rien, numéro 1 (1970) is an early soundscape composition. Soundscape composer Pet... | Soundscape |
c_eoznju7rep6k | Irv Teibel's Environments series (1969–79) consisted of 30-minute, uninterrupted environmental soundscapes and synthesized or processed versions of natural sound.Music soundscapes can also be generated by automated software methods, such as the experimental TAPESTREA application, a framework for sound design and sounds... | Soundscape |
c_4c40etzqvlvl | In music, standard tuning refers to the typical tuning of a string instrument. This notion is contrary to that of scordatura, i.e. an alternate tuning designated to modify either the timbre or technical capabilities of the desired instrument. | Standard tuning |
c_14z66ya6ux9k | In music, subjective constancy is the identification of a musical instrument as constant under changing timbre or "conditions of changing pitch and loudness, in different environments and with different players." In speech perception this means that vowels or consonants are perceived as constant categories even if acou... | Perceptual constancy |
c_vcskvbegei70 | In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It... | Syncopation |
c_lx676fq81p48 | According to music producer Rick Snoman, "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together".Syncopation can also occur when a strong harmony is simultaneous with a weak beat, for instance, when a 7th-chord is played on the second beat of 34 measure or a do... | Syncopation |
c_32oidimudmt5 | In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Originating in the 1940s with the work of Pierre Schaeffer, they were used among contemporary composers of 1950s and 1960s, such as Éliane Radigue, Steve Reich, T... | Tape loop |
c_05fc10ivp43d | In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as mor... | Musical theory |
c_8s7fgw9v7486 | The thickness also is affected by the number and the richness of the instruments playing the piece. The thickness varies from light to thick. A lightly textured piece will have light, sparse scoring. | Musical theory |
c_7sf6l15ffr7c | A thickly or heavily textured piece will be scored for many instruments. A piece's texture may be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tempo, and rhythms used. The types categorized by number and relationship of parts... | Musical theory |
c_dlmlhukl3l2h | In music, texture is how the tempo, melodic, and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece. The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as... | Musical texture |
c_6h42ezxgg01u | One of these layers could be a string section or another brass. The thickness also is changed by the amount and the richness of the instruments playing the piece. The thickness varies from light to thick. A piece's texture may be changed by the number and character of parts playing at once, the timbre of the instrument... | Musical texture |
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