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Counterpoint (music)
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Rahn
John Rahn, born on February 26, 1944, in New York City, is a music theorist, composer, bassoonist, and Professor of Music at the University of Washington School of Music, Seattle. A former student of Milton Babbitt and Benjamin Boretz, he was editor of ''Perspectives of New Music'' from 1983 to 1993 and since 2001 has been co-editor with Benjamin Boretz and Robert Morris. Forte number and prime form There are three methods of computing Forte number and prime form. Allen Forte published the first in his book ''The Structure of Atonal Music'' (1973). The second was introduced in Rahn's ''Basic Atonal Theory'' and used in Joseph N. Straus's ''Introduction to Post-Tonal Theory'', where it was declared that the two algorithms only differed in five cases: 5-20, 6-Z29, 6-31, 7-20, and 8-26. Forte (1973) and both list the prime forms of a set Set, The Set, SET or SETS may refer to: Science, technology, and mathematics Mathematics *Set (mathematics), a collection of elements *Catego ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
My Way
"My Way" is a song popularized in 1969 by Frank Sinatra set to the music of the French song "Comme d'habitude" composed by Jacques Revaux with lyrics by Gilles Thibaut and Claude François and first performed in 1967 by Claude François. Its English lyrics were written by Paul Anka and are unrelated to the original French song. The song was a success for a variety of performers including Sinatra, Elvis Presley, and Sid Vicious. Sinatra's version of "My Way" spent 75 weeks in the UK Top 40, which is 3rd place all-time. Background In 1967, Jacques Revaux wrote a ballad named "For Me", with English lyrics about a couple falling out of love. According to Revaux, the demo was then sent to Petula Clark, Dalida, and Claude François, to no avail. Revaux rejected a version by Hervé Villard, the singer of the international hit ''Capri c'est fini'' and reworked the track into ''Comme d'habitude'' ("As usual") with the help of Claude François. It was released in November 1967 an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of Western popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the common chord progression I–vi–ii–V, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Three Blind Mice
"Three Blind Mice" is an English-language nursery rhyme and musical round.I. Opie and P. Opie, ''The Oxford Dictionary of Nursery Rhymes'' (Oxford: Oxford University Press, 1951, 2nd edn., 1997), p. 306. It has a Roud Folk Song Index number of 3753. Lyrics The modern words are: Origins and meaning A version of this rhyme, together with music (in a minor key), was published in ''Deuteromelia or The Seconde part of Musicks melodie'' (1609). The editor of the book, and possible author of the rhyme, was Thomas Ravenscroft. The original lyrics are: Attempts to read historical significance into the words have led to the speculation that this musical round was written earlier and refers to Queen Mary I of England blinding and executing three Protestant bishops. However, the Oxford Martyrs, Ridley, Latimer and Cranmer, were burned at the stake, not blinded; although if the rhyme was made by crypto-Catholics, the mice's "blindness" could refer to their Protestantism. Howeve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frère Jacques
"Frère Jacques" (, ), also known in English as "Brother John", is a nursery rhyme of French origin. The rhyme is traditionally sung in a round. The song is about a friar who has overslept and is urged to wake up and sound the bell for the matins, the midnight or very early morning prayers for which a monk would be expected to wake. Lyrics Frère Jacques, Frère Jacques, Dormez-vous? Dormez-vous? Sonnez les matines! Sonnez les matines! Din, din, don. Din, din, don. English translation Brother Jacques, Brother Jacques, Are you sleeping? Are you sleeping? Ring/Sound he bells formatins! Ring he bells formatins! Ding, dang, dong. Ding, dang, dong. Traditional English lyrics Are you sleeping? Are you sleeping? Brother John, Brother John, Morning bells are ringing! Morning bells are ringing! Ding, dang, dong. Ding, dang, dong. The song concerns a monk's duty to ring the bell for ''matines''. Frère Jacques has apparently overslept, it is time to ring the bells for matins ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Medieval music, Middle Ages, Renaissance music, Renaissance, and Baroque music, Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Round (music)
A round (also called a perpetual canon 'canon perpetuus''or infinite canon) is a musical composition, a limited type of canon, in which a minimum of three voices sing exactly the same melody at the unison (and may continue repeating it indefinitely), but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together. It is one of the easiest forms of part singing, as only one line of melody need be learned by all parts, and is part of a popular musical tradition. They were particularly favoured in glee clubs, which combined amateur singing with regular drinking. The earliest known rounds date from 12th century Europe. One characteristic of rounds is that, "There is no fixed ending," in the sense that they may be repeated as many times as possible, although many do have "fixed" endings, often indicated by a fermata. "Row, Row, Row Your Boat" is a well-known children's round f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Perception
''Music Perception: An Interdisciplinary Journal'' is a peer-reviewed academic journal published by University of California Press five times a year. It was founded by Diana Deutsch. According to the ''Journal Citation Reports'', the journal has a 2018 impact factor of 1.152. Succession of editors *Diana Deutsch, Founding Editor *Jamshed Bharucha *Robert Gjerdingen Robert O. Gjerdingen is a scholar of music theory and music perception, and is an emeritus professor at Northwestern University. His most influential work focuses on the application of ideas from cognitive science, especially theories about sc ... * Lola Cuddy * Catherine (Kate) J. Stevens References External links ''Music Perception'' on University of California Press Journals website {{Music psychology Music journals University of California Press academic journals English-language journals Publications established in 1983 5 times per year journals ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ravel
Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism in music, Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism (music), modernism, baroque music, baroque, Neoclassicism (music), neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, ''Boléro'' (1928), in which repetition takes the place of development. Renowned for his abi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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