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wiki_11100_chunk_0 | Wolf interval | In mean-tone systems, this interval is usually from C♯ to A♭ or from G♯ to E♭ but can be moved in either direction to favor certain groups of keys. The eleven perfect fifths sound almost perfectly consonant. Conversely, the diminished sixth is severely dissonant and seems to howl like a wolf, because of a phenomenon ca... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11101_chunk_0 | 22 equal temperament | Considering the 5-limit, there is a difference between 3 fifths and the sum of 1 fourth + 1 major third. It means that, starting from C, there are two A's - one 16 steps and one 17 steps away. There is also a difference between a major tone and a minor tone. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11102_chunk_0 | 22 equal temperament | In C major, the second note (D) will be 4 steps away. However, in A minor, where A is 6 steps below C, the fourth note (D) will be 9 steps above A, so 3 steps above C. So when switching from C major to A minor, one need to slightly change the note D. These discrepancies arise because, unlike 12-ET, 22-ET does not tempe... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11103_chunk_0 | 22 equal temperament | Also the septimal subminor third (7/6) is different from the minor third (6/5). This mapping tempers out the septimal comma of 64/63, which allows 22-ET to function as a "Superpythagorean" system where four stacked fifths are equated with the septimal major third (9/7) rather than the usual pental third of 5/4. This sy... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11104_chunk_0 | 22 equal temperament | Instead of tempering the fifth narrow so that intervals of 5 are simple while intervals of 7 are complex, the fifth is tempered wide so that intervals of 7 are simple while intervals of 5 are complex. The enharmonic structure is also reversed: sharps are sharper than flats, similar to Pythagorean tuning, but to a great... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11105_chunk_0 | Mercator's comma | The 53-TET tuning equates to the unison, or tempers out, the intervals 32805⁄32768, known as the schisma, and 15625⁄15552, known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3 and 5 in their factorization, and the fact that 53 ET tempers out both characterizes it completely as a 5 limi... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11106_chunk_0 | 58 equal temperament | In music, 58 equal temperament (also called 58-ET or 58-EDO) divides the octave into 58 equal parts of approximately 20.69 cents each. It is notable as the simplest equal division of the octave to faithfully represent the 17-limit, and the first that distinguishes between all the elements of the 11-limit tonality diamo... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11107_chunk_0 | 58 equal temperament | Compared to 72-EDO, which is also consistent in the 17-limit, 58-EDO's approximations of most intervals are not quite as good (although still workable). One obvious exception is the perfect fifth (slightly better in 58-EDO), and another is the tridecimal minor third (11:13), which is significantly better in 58-EDO than... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11108_chunk_0 | 72 equal temperament | Since it contains so many temperaments, 72-EDO contains at the same time tempered semitones, third-tones, quartertones and sixth-tones, which makes it a very versatile temperament. This division of the octave has attracted much attention from tuning theorists, since on the one hand it subdivides the standard 12 equal t... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11109_chunk_0 | 16th note | On stems facing up, the flags start at the top and curve down; for downward facing stems, the flags start at the bottom of the stem and curve up. When multiple sixteenth notes or eighth notes (or thirty-second notes, etc.) are next to each other, the flags may be connected with a beam, like the notes in Figure 2. Note ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11110_chunk_0 | Barre chord | Using the barre technique, the guitarist can fret a familiar open chord shape, and then transpose, or raise, the chord a number of half-steps higher, similar to the use of a capo. For example, when the current chord is an E major and the next is an F♯ major, the guitarist barres the open E major up two frets (two semit... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11111_chunk_0 | Distant key | No piece dared wander too far from its tonic key, and no piece in a four-movement form dared to present a tonality not closely related to the key of the whole series." For example, the first movement of Mozart's Piano Sonata No. 7, K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11112_chunk_0 | Cloud generator | In music, a cloud is a sound mass consisting of statistical clouds of microsounds and characterized first by the set of elements used in the texture, secondly density, including rhythmic and pitch density. Clouds may include ambiguity of rhythmic foreground and background or rhythmic hierarchy. Examples include: Iannis... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11113_chunk_0 | Cyclic set | In music, a cyclic set is a set, "whose alternate elements unfold complementary cycles of a single interval." Those cycles are ascending and descending, being related by inversion since complementary: In the above example, as explained, one interval (7) and its complement (-7 = +5), creates two series of pitches starti... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11114_chunk_0 | Factor (chord) | In music, a factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth (compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic interval above the root. In harmony, the consonance and dissonance of a chord factor and a no... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11115_chunk_0 | Second chord | In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11116_chunk_0 | Pensato | George Perle (1990:), noting that "no composer has ever been more concrete, explicit, detailed, and subtle in his notation," argues that if Webern did use a pensato, it would have been a pitch "with all the attributes that give a note actuality: pitch, duration, mode of attack and release, timbre, intensity," and not a... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11117_chunk_0 | Pitch class | In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11118_chunk_0 | Pitch class | Thus, using scientific pitch notation, the pitch class "C" is the set {Cn: n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.Although there is no formal upper or lower limit to this sequence, only a few of these pitches are audible to humans. Pitch class is important because human pitch-perception is periodic: pit... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11119_chunk_0 | Primary triad | In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11120_chunk_0 | Primary triad | Primary triads, "express function clearly and unambiguously." The other triads of the diatonic key include the supertonic, mediant, sub-mediant, and leading-tone, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio (again, ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11121_chunk_0 | Projected set | In music, a projected set is a technique where a collection of pitches or pitch classes is extended in a texture through the emphasized simultaneous statement of a set followed or preceded by a successive emphasized statement of each of its members. For example, a set may be stated as a simultaneity and then a series o... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11122_chunk_0 | Piano Reduction | In music, a reduction is an arrangement or transcription of an existing score or composition in which complexity is lessened to make analysis, performance, or practice easier or clearer; the number of parts may be reduced or rhythm may be simplified, such as through the use of block chords. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11123_chunk_0 | Chord rewrite rules | In music, a rewrite rule is a recursive generative grammar, which creates a chord progression from another. Steedman (1984) has proposed a set of recursive "rewrite rules" which generate all well-formed transformations of jazz, basic I–IV–I–V–I twelve-bar blues chord sequences, and, slightly modified, non-twelve-bar bl... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11124_chunk_0 | Chord rewrite rules | Middleton (1990) suggests that both modal and fourth-oriented structures, rather than being, "distortions or surface transformations of Schenker's favoured V-I kernel, are more likely branches of a deeper principle, that of tonic/not-tonic differentiation." For the ♭ notation, see Borrowed chord. == References == | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11125_chunk_0 | Miracle temperament | In music, a secor is the interval of 116.7 cents ((18/5)(1/19)) named after George Secor. Secor devised it to allow a close approximation, generated from a single interval, to Harry Partch's 43 tone just intonation scale. All 11-limit consonances are approximated to within 3.32 cents.It is approximated in 31 , 41 , and... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11126_chunk_0 | Septimal chromatic semitone | In music, a septimal chromatic semitone or minor semitone is the interval 21:20 (). It is about 84.47 cents. The septimal chromatic semitone may be derived from the harmonic series as the interval between the twentieth and twenty-first harmonics. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11127_chunk_0 | Septimal diatonic semitone | In music, a septimal diatonic semitone (or major diatonic semitone) is the interval 15:14 . It is about 119.44 cents. The septimal diatonic semitone may be derived from the harmonic series as the interval between the fourteenth and fifteenth harmonics (B7b and B). The septimal diatonic semitone equals a just diatonic s... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11128_chunk_0 | 45 rpm record | With the rise of digital distribution, distinctions have become more tenuous. The biggest digital music distributor, the iTunes Store, only accepts releases with three tracks or fewer that are less than ten minutes each as a singles (with longer releases being classified as EPs or albums). However, releases which don't... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11129_chunk_0 | Tape phase | In music, a tape phase is a recorded composition using a tape loop or its electronic simulation to produce and vary sounds. It is a form of tape music.Tape phase compositions generally make little use of tonality owing to the difficulty of producing and maintaining a coherent pitch. They may have a strong pulse and rhy... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11130_chunk_0 | Retrograde equivalency | In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11131_chunk_0 | Whole tone scale | Due to this symmetry, the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords, whose "individual structural differences can be seen to result only from a difference in the 'location', or plac... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11132_chunk_0 | All-interval twelve-tone row | In music, an all-interval twelve-tone row, series, or chord, is a twelve-tone tone row arranged so that it contains one instance of each interval within the octave, 1 through 11 (an ordering of every interval, 0 through 11, that contains each (ordered) pitch-interval class, 0 through 11). A "twelve-note spatial set mad... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11133_chunk_0 | All-interval twelve-tone row | These sets may be ordered in time or in register. "Distinct" in this context means in transpositionally and rotationally normal form (yielding 3856 such series), and disregarding inversionally related forms. These 1,928 tone rows have been independently rediscovered several times, their first computation probably was b... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11134_chunk_0 | Electric tuner | In music, an electronic tuner is a device that detects and displays the pitch of musical notes played on a musical instrument. "Pitch" is the perceived fundamental frequency of a musical note, which is typically measured in Hertz. Simple tuners indicate—typically with an analog needle or dial, LEDs, or an LCD screen—wh... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11135_chunk_0 | Electric tuner | The interaction of the light and regularly-spaced marks on the wheel creates a stroboscopic effect that makes the marks for a particular pitch appear to stand still when the pitch is in tune. These can tune instruments and audio devices more accurately than most non-strobe tuners. However, mechanical strobe units are e... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11136_chunk_0 | Interval cycle | In music, an interval cycle is a collection of pitch classes created from a sequence of the same interval class. In other words, a collection of pitches by starting with a certain note and going up by a certain interval until the original note is reached (e.g. starting from C, going up by 3 semitones repeatedly until e... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11137_chunk_0 | Frequency ratio | For example, 2:1 (), 4:3 (), 9:8 (), 65536:59049 (), etc. Consonance and dissonance may more subtly be defined by limit, wherein the ratios whose limit, which includes its integer multiples, is lower are generally more consonant. For example, the 3-limit 128:81 () and the 7-limit 14:9 (). Despite having larger integers... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11138_chunk_0 | Perfect octave | In music, an octave (Latin: octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most m... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11139_chunk_0 | Consecutive fifths | In music, consecutive fifths or parallel fifths are progressions in which the interval of a perfect fifth is followed by a different perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11140_chunk_0 | Slash chord | In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or". For example, a C major chord (C) in second inversion is w... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11141_chunk_0 | Extended chords | In practice however, extended chords do not typically use all the chord members; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless the... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11142_chunk_0 | Diatonic function | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11143_chunk_0 | Diatonic function | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11144_chunk_0 | Diatonic function | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11145_chunk_0 | Harmony vocal | 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 ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11146_chunk_0 | Inharmonicity | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11147_chunk_0 | Inharmonicity | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11148_chunk_0 | Helmholtz-Ellis notation | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11149_chunk_0 | Helmholtz-Ellis notation | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11150_chunk_0 | Stochastic | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11151_chunk_0 | Stochastic | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11152_chunk_0 | Metric hierarchy | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11153_chunk_0 | Miracle temperament | 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. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11154_chunk_0 | Ghost note | "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 ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11155_chunk_0 | Paradigmatic analysis | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11156_chunk_0 | Pitch bending | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11157_chunk_0 | Segue | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11158_chunk_0 | Septimal meantone temperament | 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,... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11159_chunk_0 | Septimal meantone temperament | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11160_chunk_0 | Total serialism | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11161_chunk_0 | Total serialism | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11162_chunk_0 | Soundscape | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11163_chunk_0 | Syncopation | 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... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11164_chunk_0 | Farben chord | In music, the 'Farben' chord is a chord, in ascending order C–G♯–B–E–A, named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C–C♯–E♭–E–G♯), its Forte number is 5-z17, in the taxonomy of Allen Fo... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11165_chunk_0 | Northern lights chord | In music, the 'northern lights' chord is an eleven-note chord from Ernst Krenek's Cantata for Wartime (1943), that represents the Northern Lights. Krenek's student Robert Erickson cited the chord as an example of a texture arranged so as to "closely approach the single-object status of fused-ensemble timbres, for examp... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11166_chunk_0 | Ukrainian Dorian scale | In music, the Romanian minor scale or Ukrainian Dorian scale or altered Dorian scale is a musical scale or the fourth mode of the harmonic minor scale. It is "similar to the dorian mode, but with a tritone and variable sixth and seventh degrees". It is related to both the Freygish and Misheberak scales and is used in J... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11167_chunk_0 | All-trichord hexachord | In music, the all-trichord hexachord is a unique hexachord that contains all twelve trichords, or from which all twelve possible trichords may be derived. The prime form of this set class is {012478} and its Forte number is 6-Z17. Its complement is 6-Z43 and they share the interval vector of <3,2,2,3,3,2>. It appears i... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11168_chunk_0 | Axis system | In music, the axis system is a system of analysis originating in the work of Ernő Lendvai, which he developed in his analysis of the music of Béla Bartók. The axis system is "concerned with harmonic and tonal substitution", and posits a novel type of functional relationship between tones and chords. Lendvai's analyses ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11169_chunk_0 | Dominant function | In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11170_chunk_0 | Dominant function | This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11171_chunk_0 | Dominant function | Leading-tone triads and leading-tone seventh chords may also have dominant function. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11172_chunk_0 | Fundamental tone | In music, the fundamental is the musical pitch of a note that is perceived as the lowest partial present. The fundamental may be created by vibration over the full length of a string or air column, or a higher harmonic chosen by the player. The fundamental is one of the harmonics. A harmonic is any member of the harmon... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11173_chunk_0 | Fundamental tone | The reason a fundamental is also considered a harmonic is because it is 1 times itself.The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including th... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11174_chunk_0 | Fundamental tone | Together they form the harmonic series. Overtones which are perfect integer multiples of the fundamental are called harmonics. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11175_chunk_0 | Seventeenth harmonic | In music, the minor diatonic semitone is a ratio of 17:16, making it the seventeenth harmonic or partial. This is in contrast to the 5-limit major diatonic semitone of 16/15. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11176_chunk_0 | Septimal major third | This interval has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the septimal major triad, or septimal supermajor triad . However, in terms of the overtone series, this is a uton... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11177_chunk_0 | Septimal minor third | The septimal major sixth, 12/7, is the inverse of this interval. The septimal minor third may be derived in the harmonic series from the seventh harmonic, and as such is in inharmonic ratios with all notes in the regular 12TET scale, with the exception of the fundamental and the octave. It has a darker but generally pl... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11178_chunk_0 | Septimal minor third | Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents, or an upside down seven ("ㄥ") to indicate a note is raised 49 cents.The position of this note also appears on the scale of the Moodswinger. Yuri Landman indicated the harmonic positions of his instrument in a color dotted se... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11179_chunk_0 | Septimal semicomma | In music, the septimal semicomma, a seven-limit semicomma, is the ratio 126/125 and is equal to approximately 13.79 cents (). It is also called the small septimal comma and the starling comma after its use in starling temperament. Factored into primes it is: 2 ∗ 3 2 ∗ 5 − 3 ∗ 7 {\displaystyle 2*3^{2}*5^{-3}*7} Or as si... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11180_chunk_0 | Septimal whole tone | In music, the septimal whole tone, septimal major second, or supermajor second is the musical interval exactly or approximately equal to an 8/7 ratio of frequencies. It is about 231 cents wide in just intonation. 24 equal temperament does not match this interval particularly well, its nearest representation being at 25... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11181_chunk_0 | Divisive rhythm | In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11182_chunk_0 | Undertone series | In music, the undertone series or subharmonic series is a sequence of notes that results from inverting the intervals of the overtone series. While overtones naturally occur with the physical production of music on instruments, undertones must be produced in unusual ways. While the overtone series is based upon arithme... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11183_chunk_0 | Tonal memory | In music, tonal memory or "aural recall" is the ability to remember a specific tone after it has been heard. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability.Tonal memory may be used as a str... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11184_chunk_0 | Unified field | In music, unified field is the 'unity of musical space' created by the free use of melodic material as harmonic material and vice versa. The technique is most associated with the twelve-tone technique, created by its 'total thematicism' where a tone-row (melody) generates all (harmonic) material. It was also used by Al... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11185_chunk_0 | Developing variation | In musical composition, developing variation is a formal technique in which the concepts of development and variation are united in that variations are produced through the development of existing material. The term was coined by Arnold Schoenberg, twentieth-century composer and inventor of the twelve-tone technique, w... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11186_chunk_0 | Air column | In musical instruments, strings under tension, as in lutes, harps, guitars, pianos, violins and so forth, have resonant frequencies directly related to the mass, length, and tension of the string. The wavelength that will create the first resonance on the string is equal to twice the length of the string. Higher resona... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11187_chunk_0 | Air column | The speed of a wave through a string or wire is related to its tension T and the mass per unit length ρ: v = T ρ {\displaystyle v={\sqrt {T \over \rho }}} So the frequency is related to the properties of the string by the equation f = n T ρ 2 L = n T m / L 2 L {\displaystyle f={n{\sqrt {T \over \rho }} \over 2L}={n{\sq... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11188_chunk_0 | Cue note | In musical notation, a cue note is or cue notes are indications informing players, "of important passages being played by other instruments, entrance after a long period of rest." A cue may also function as a guideline for another instrument for musical improvisation or if there are many bars rest to help the performe... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11189_chunk_0 | Circle of fourths | In musical pieces from the Baroque music era and the Classical era of music and in Western popular music, traditional music and folk music, when pieces or songs modulate to a new key, these modulations are often associated with the circle of fifths. In practice, compositions rarely make use of the entire circle of fift... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11190_chunk_0 | Hexachordal complementation | In musical set theory or atonal theory, complement is used in both the sense above (in which the perfect fourth is the complement of the perfect fifth, 5+7=12), and in the additive inverse sense of the same melodic interval in the opposite direction – e.g. a falling 5th is the complement of a rising 5th. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11191_chunk_0 | Forte number | In musical set theory, a Forte number is the pair of numbers Allen Forte assigned to the prime form of each pitch class set of three or more members in The Structure of Atonal Music (1973, ISBN 0-300-02120-8). The first number indicates the number of pitch classes in the pitch class set and the second number indicates ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11192_chunk_0 | Interval vector | In musical set theory, a Z-relation, also called isomeric relation, is a relation between two pitch class sets in which the two sets have the same intervallic content (and thus the same interval vector) but they are not transpositionally related (are of different Tn-type ) or inversionally related (are of different Tn/... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11193_chunk_0 | Interval vector | See: 6-Z44, 6-Z17, 6-Z11, and Forte number. The term, for "zygotic" (yoked or the fusion of two reproductive cells),: 98 Schuijer (2008), p.98 and 98n18. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11194_chunk_0 | Interval vector | originated with Allen Forte in 1964, but the notion seems to have first been considered by Howard Hanson. Hanson called this the isomeric relationship, and defined two such sets as isomeric. See: isomer. | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11195_chunk_0 | Interval vector | According to Michiel Schuijer (2008), the hexachord theorem, that any two pitch-class complementary hexachords have the same interval vector, even if they are not equivalent under transposition and inversion, was first proposed by Milton Babbitt, and, "the discovery of the relation," was, "reported," by David Lewin in ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11196_chunk_0 | Interval vector | In 16-ET, Z-related sets are found as triplets. Lewin's student Jonathan Wild continued this work for other tuning systems, finding Z-related tuplets with up to 16 members in higher ET systems.The equivalence relationship of `having the same interval content', allowing the trivial isometric case, was initially studied ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11197_chunk_0 | Interval class | In musical set theory, an interval class (often abbreviated: ic), also known as unordered pitch-class interval, interval distance, undirected interval, or "(even completely incorrectly) as 'interval mod 6'" (Rahn 1980, 29; Whittall 2008, 273–74), is the shortest distance in pitch class space between two unordered pitch... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11198_chunk_0 | Interval class vector | In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves are disregarded.) Other names include: ic vector (or interval-class vector), PIC vector (or pitch-class interval vector) and APIC vector (or ... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
wiki_11199_chunk_0 | Interval class vector | ): 48 While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities that are created by different collections of pitch class. That is, sets with high concentrations of conventionally dissonant intervals (i.e., seconds and sevenths) sound more dissonant, wh... | https://www.kaggle.com/datasets/conjuring92/wiki-stem-corpus |
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