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Bimodality
Bimodality is the simultaneous use of two distinct pitch collections. It is more general than bitonality since the "scales" involved need not be traditional scales; if diatonic collections are involved, their pitch centers need not be the familiar major and minor-scale tonics. One example is the opening (mm. 1–14) of Béla Bartók's "Boating" from '' Mikrokosmos'' (no. 125, vol. 5). Here, the right hand uses pitches of the pentatonic scale on E and the left hand uses those of the diatonic hexachord on C, perhaps suggesting G dorian or G mixolydian. Bartók also uses the white-key and black-key collections (diatonic scale and its pentatonic complement) in no.6 of the ''Eight Improvisations'', with the pentatonic as foreground, and in mm. 50–51 of the third movement of his Fourth Quartet, with the diatonic as foreground . Paul Wilson argues against analyzing Bartók's "Diminished Fifth" (''Mikrokosmos'' vol. 4, no. 101) and "Harvest Song" (no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bitonality
Polytonality (also polyharmony) is the musical use of more than one key simultaneously. Bitonality is the use of only two different keys at the same time. Polyvalence or polyvalency is the use of more than one harmonic function, from the same key, at the same time. Some examples of bitonality superimpose fully harmonized sections of music in different keys. History In traditional music Lithuanian traditional singing style sutartines is based on polytonality. A typical sutartines song is based on a six-bar melody, where the first three bars contains melody based on the notes of the triad of a major key (for example, in G major), and the next three bars is based on another key, always a major second higher or lower (for example, in A major). This six-bar melody is performed as a canon, and repetition starts from the fourth bar. As a result, parts are constantly singing in different tonality (key) simultaneously (in G and in A). As a traditional style, sutartines disappeared in Li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Center
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Béla Bartók
Béla Viktor János Bartók (; ; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology. Biography Childhood and early years (1881–98) Bartók was born in the Banatian town of Nagyszentmiklós in the Kingdom of Hungary (present-day Sânnicolau Mare, Romania) on 25 March 1881. On his father's side, the Bartók family was a Hungarian lower noble family, originating from Borsodszirák, Borsod. His paternal grandmother was a Catholic of Bunjevci origin, but considered herself Hungarian. Bartók's father (1855–1888) was also named Béla. Bartók's mother, Paula (née Voit) (1857–1939), also spoke Hungarian fluently. A native of Turócszentmárton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mikrokosmos (Béla Bartók)
Microcosm or macrocosm, also spelled mikrokosmos or makrokosmos, may refer to: Philosophy * Microcosm–macrocosm analogy, the view according to which there is a structural similarity between the human being and the cosmos Music * Macrocosm (album), seventh studio album by the German electronic composer Peter Frohmader, released in 1990 * ''Makrokosmos'', a series of four volumes of pieces for piano by American composer George Crumb * "Mic-rocosm", a song by American rapper Prodigy from the album ''Hegelian Dialectic'' * ''Microcosm'' (album), 2010 album by Flow * Microcosm (Bartok), 153 progressive piano pieces written between 1926 and 1939 * ''Microcosmos'' (Drudkh album) * ''Microcosmos'' (Thy Catafalque album) * ''Mikrokosmos'' (Bartók), a cycle of piano pieces written 1926-1939 by Hungarian composer Béla Bartók * ''Mikrokosmos'' (Turovsky), four cycles of lute pieces, ''Mikrokosmos I-IV'', by Ukrainian-American composer Roman Turovsky * ''Mikrokosmos'', pseudonym use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentatonic Scale
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic ''yo'' scale is contrasted with the hemitonic ''in'' scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). (This should not be confu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Hexachord
The diatonic, Guidonian, or major hexachord (6-32) is a hexachord consisting of six consecutive pitches from the diatonic scale that are also a consecutive segment of the circle of fifths: F C G D A E = C D E F G A = "do-re-mi-fa-sol-la". It is the thirty-second hexachord as ordered by Forte number, and its complement is the diatonic hexachord at the tritone. If the circle of fifths transformation is applied to the diatonic hexachord the chromatic hexachord results. It is source set C. Hugo Riemann points out that the hexachord consists of three overlapping (diatonic) tetrachords: Lydian, Phrygian, and Dorian; as well as two overlapping pentatonic scales (which are major pentatonic and mixolydian pentatonic). Richard Crocker made the case that, in the words of Stefano Mengozzi, "the Guidonian hexachord was the most important diatonic unit for practical musicians from the Carolingian era to the seventeenth century".Crocker, R.L. (1968 and 1972). "Perchè Zarlino diede una nuov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Wilson (music Theorist)
Paul Wilson is a music theorist and Professor of Music Theory and Composition at the University of Miami Frost School of Music, in the United States. He holds a B.A. from Harvard University, a M.A. from the University of Hawaii, and M.Phil. and Ph.D. degrees from Yale University, where he studied with Allen Forte. Paul Wilson is a professor of theory and composition at the University of Miami Frost School of Music where he chairs the committee to design and implement the Frost Experiential Music Curriculum. An expert on Schenkerian theory, he also teaches traditional undergraduate music theory and musicianship, counterpoint, analysis, analysis of 20th-century music, and music-theory pedagogy. He is an internationally recognized expert on Hungarian composer Béla Bartók. In 1992, Yale University Press published his ''The Music of Béla Bartók''. In this book, Wilson begins by discussing a number of fundamental musical materials that Bartók employed throughout his oeuvre. Using ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octatonic Scale
An octatonic scale is any eight-note musical scale. However, the term most often refers to the symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory), this symmetrical scale is commonly called the ''octatonic scale'' (or the ''octatonic collection''), although there are a total of 42 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets. The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" (''Study of the Succession of Alternating Whole Tones and Semitones (and of the so-called Major-Minor Scale)'') from c. 1879, which preceded Vito Frazzi's ''Scale alternate per pianoforte'' of 1930 by a full half-century. Nomenclature In Saint Petersburg at the turn of the 20th century, this scale had become so familiar in the circle of comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
