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Bruckner Rhythm
The Bruckner rhythm is a 2 + 3 ( duplet + triplet) or 3 + 2 rhythm in Anton Bruckner's symphonic music, where it occurs prevalently, and in many different ways. One example is in the main theme of the first movement of Symphony No. 4, from bars 43 forward: Bruckner also used the rhythm with a single pitch repeated, and this is the only way it occurs in Symphony No. 2 (e.g., bars 20 and 122). In Symphony No. 6, the Bruckner rhythm occurs to a much greater extent than in previous works, in several parts at slightly different times. At first it occurs as a string ostinato high in the violins' range against a melody of different rhythm in the cellos (bar 3), while at bars 195–209 it serves to articulate hexatonic cycle block chords.Kevin Swinden, "Bruckner and harmony" ''The Cambridge Companion to Bruckner'', ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tuplet
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. Terminology The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (''Oxford English Dictionary'', entries "multiplet", "-plet, ''comb. form''", "-let, ''suffix''", and "-et, ''suffix''1"). An alternative modern term, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythm
Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years. Rhythm is related to and distinguished from pulse, meter, and beats: In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language and poetry. In some performing arts, such as hip hop music, the rhythmic delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as "timed mov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Milton Cross
Milton John Cross (April 16, 1897 – January 3, 1975) was an American radio announcer famous for his work on the NBC and American Broadcasting Company, ABC radio networks. He was best known as the voice of the Metropolitan Opera, hosting its Metropolitan Opera radio broadcasts, Saturday afternoon radio broadcasts for 43 years, from the time of their inception on December 25, 1931, until his death in 1975. Biography Early career Born in New York City, Milton Cross started his career just as network radio itself was in its earliest stages. He joined the New Jersey station WABC (AM), WJZ in 1921, not just as an announcer but also as a singer, often engaging in recitals with the station's staff pianist, Keith McLeod. By 1927, WJZ had moved to Manhattan and had become the flagship station of the Blue Network of NBC's new national radio network. Cross' voice became familiar as he not only delivered announcements for the Blue Network but also hosted a number of popular programs. Cross w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans-Hubert Schönzeler
Hans-Hubert Schönzeler (22 June 192530 April 1997) was a German-born Australian-naturalised English-resident composer, conductor and musicologist who became an authority on Anton Bruckner and Antonín Dvořák. He was born in Leipzig, an only child, and studied the violin from the age of five. Although his family was not Jewish, he was sent to Brussels so as to avoid contact with the Hitler Youth. In 1939 his family emigrated to Australia where, on the outbreak of the Second World War, his father was interned as an enemy alien. Hans-Hubert went to Sydney Boys High School, but in 1941 he and his mother were also interned for the duration of the war. During these years he continued to study music. He also studied conducting with a former director of the Vienna Boys' Choir. He was released in 1946 and was naturalised as an Australian in 1947. He attended the New South Wales State Conservatorium, where he studied with Eugene Goossens. With assistance from Rafael Kubelík, Schön ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Williamson (musicologist)
John Gordon Williamson (born 1949) is a Scottish musicologist and retired academic. After studying music and history at the University of Glasgow, he completed his doctoral studies at Balliol College, Oxford. In 1974, he was appointed to a lectureship at the University of Liverpool; he was subsequently a professor of music and head of the School of Music there. He specialises in Austro-German music between 1850 and 1950, and he has studied the works of Pfitzner, Strauss, Liszt, Mahler and Wolf The wolf (''Canis lupus''; : wolves), also known as the gray wolf or grey wolf, is a large canine native to Eurasia and North America. More than thirty subspecies of ''Canis lupus'' have been recognized, and gray wolves, as popularly u ...."Staff", ''School of Music, University of Liverpool'', as archived o17 August 2004 Selected publications * ''The Music of Hans Pfitzner'' (Oxford University Press, 1992). * ''Strauss: 'Also Sprach Zarathustra'' (Cambridge University Press, 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cambridge Companions To Music
The Cambridge Companions to Music form a book series published by Cambridge University Press Cambridge University Press is the university press of the University of Cambridge. Granted letters patent by Henry VIII of England, King Henry VIII in 1534, it is the oldest university press A university press is an academic publishing hou .... Each book is a collection of essays on the topic commissioned by the publisher. on Cambridge University Press website, accessed 21 September 2015. Volumes (sortable table) References External links ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony No
A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony). Etymology and origins The word ''symphony'' is derived from the Greek word (), meaning "agreement or concord of sound", "concert of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Derek Watson (actor And Musicologist)
Derek Watson (6 November 1948 – 17 September 2018) was a Scottish musicologist, actor, musician and bookseller. He has been described as a Scottish cultural icon. Acting career Watson began work at the Citizens Theatre in 1972. He was initially brought into the company as the musical director of the 1972 Christmas panto. It was a position he would hold until his retirement in the process becoming affectionately known "Uncle Derek". After appearing on the Citz stage in non-speaking roles, his first speaking role was in Bertol Brecht's Puntila and his Servant Matti. He went on to appear in more than 60 shows. Music and writings Watson composed his first piece, a symphonic poem entitled The Battle of Bannockburn at the age of eight. He was sent to piano lessons, and by the time he was 11 had composed his second symphonic poem, The Romans in Britain. He was a music graduate of Edinburgh University and the Royal Academy of Music, London. Watson contributed two volumes to the Ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's '' Boléro'' and the ''Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's "Baba O'Riley" (1971), and The Verve's " Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an os ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexatonic
In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole-tone scale, C D E F G A C; the augmented scale, C D E G A B C; the Prometheus scale, C D E F A B C; and the blues scale, C E F G G B C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a diatonic scale with one note removed (for example, A C D E F G). Whole-tone scale The whole-tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F G A C and D E F G A B D. It is primarily associated with the French impressionist composer Claude Debussy, who used it in such pieces of his as ''Voiles'' and ''Le vent dans la plaine'', both from his first book of piano '' Préludes''. This whole-tone scale has appeared occasionally and sporadically in jazz at least since Bix Beiderbecke's impressionistic piano piece ''In a Mist''. Bop pianist Thelonious Monk often interpolated whole-tone scale flo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
