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Magic Chord
The Magic Chord is a chord and installation (1984) created by La Monte Young, consisting of the pitches E, F, A, B, D, E, G, and A, in ascending order and used in works including his ''The Well-Tuned Piano'' and ''Chronos Kristalla'' (1990).Grimshaw, Jeremy (2011). ''Draw A Straight Line and Follow It: The Music and Mysticism of La Monte Young'', p. 176. . The latter was performed by the Kronos Quartet and features all notes of the magic chord as harmonics on open strings. The quartet has been described as, "offer ngperhaps the ultimate challenge in performing in a just environment". Described as, "complex and throbbing", the chord does not contain its fundamental (see root chords), E, and is a subset of the ''Romantic Chord'', G- Dorian in eight octaves, spelled G, A, B, C, D, E, F, G. "When the ''Magic Opening Chord'' is obtained by playing the ''Opening Chord'' at one end of a room while the ''Magic Chord'' is played at the other (as Young set it up for me), the feeling-ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magic Chord On E
Magic or Magick most commonly refers to: * Magic (supernatural), beliefs and actions employed to influence supernatural beings and forces * Ceremonial magic, encompasses a wide variety of rituals of magic * Magical thinking, the belief that unrelated events are causally connected, particularly as a result of supernatural effects * Magic (illusion), the art of appearing to perform supernatural feats Magic(k) may also refer to: Art and entertainment Film and television * ''Magic'' (1917 film), a silent Hungarian drama * ''Magic'' (1978 film), an American horror film * ''Magic'' (soap opera), 2013 Indonesian soap opera * Magic (TV channel), a British music television station Literature * Magic in fiction, the genre of fiction that uses supernatural elements as a theme * ''Magic'' (Chesterton play), 1913 * ''Magic'' (short story collection), 1996 short story collection by Isaac Asimov * ''Magic'' (novel), 1976 novel by William Goldman * '' The Magic Comic'', a 19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Space
In music theory, pitch spaces model relationships between pitches. These models typically use distance to model the degree of relatedness, with closely related pitches placed near one another, and less closely related pitches placed farther apart. Depending on the complexity of the relationships under consideration, the models may be multidimensional. Models of pitch space are often graphs, groups, lattices, or geometrical figures such as helixes. Pitch spaces distinguish octave-related pitches. When octave-related pitches are not distinguished, we have instead pitch class spaces, which represent relationships between pitch classes. (Some of these models are discussed in the entry on modulatory space, though readers should be advised that the term "modulatory space" is not a standard music-theoretical term.) Chordal spaces model relationships between chords. Linear and helical pitch space The simplest pitch space model is the real line. A fundamental frequency ''f'' is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
7-limit Tuning And Intervals
7-limit or septimal tunings and intervals are musical instrument tunings that have a limit of seven: the largest prime factor contained in the interval ratios between pitches is seven. Thus, for example, 50:49 is a 7-limit interval, but 14:11 is not. For example, the greater just minor seventh, 9:5 () is a 5-limit ratio, the harmonic seventh has the ratio 7:4 and is thus a septimal interval. Similarly, the septimal chromatic semitone, 21:20, is a septimal interval as 21÷7=3. The harmonic seventh is used in the barbershop seventh chord and music. () Compositions with septimal tunings include La Monte Young's ''The Well-Tuned Piano'', Ben Johnston's String Quartet No. 4, Lou Harrison's ''Incidental Music for Corneille's Cinna'', and Michael Harrison's ''Revelation: Music in Pure Intonation''. The Great Highland bagpipe is tuned to a ten-note seven-limit scale: 1:1, 9:8, 5:4, 4:3, 27:20, 3:2, 5:3, 7:4, 16:9, 9:5. In the 2nd century Ptolemy described the sept ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominate" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marian Zazeela
Marian Zazeela (born April 15, 1940) is an American light artist, designer, calligrapher, painter and musician based in New York City. She was a member of the 1960s experimental music collective Theatre of Eternal Music, and is known for her collaborative work with her husband, the minimalist composer La Monte Young. Life and work Born to Russian-Jewish parents and raised in the Bronx, Marian Zazeela was educated at the Fiorello H. LaGuardia High School of Music & Art and Performing Arts and at Bennington College where she studied with Paul Feeley, Eugene C. Goossen and Tony Smith. She earned a Bachelor of Arts degree with a major in painting in 1960. Shortly after graduation, she relocated to New York City where she provided stage design for LeRoi Jones / Amiri Baraka's '' The System of Dante's Hell'' and acted and modeled for Jack Smith (appearing in his film ''Flaming Creatures'' and photography book ''The Beautiful Book''), before being introduced in 1962 to composer La Mon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Minor Third
In music, the septimal minor third, also called the subminor third (e.g., by Ellis), is the musical interval exactly or approximately equal to a 7/6 ratio of frequencies. In terms of cents, it is 267 cents, a quartertone of size 36/35 flatter than a just minor third of 6/5. In 24-tone equal temperament five quarter tones approximate the septimal minor third at 250 cents (). A septimal minor third is almost exactly two-ninths of an octave, and thus all divisions of the octave into multiples of nine (72 equal temperament being the most notable) have an almost perfect match to this interval. 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 pleasing character when compared to the 6/5 third. A triad formed by using ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Comma
A septimal comma is a small musical interval in just intonation that contains the number seven in its prime factorization. There is more than one such interval, so the term ''septimal comma'' is ambiguous, but it most commonly refers to the interval 64/63 (27.26 cents). Use of septimal commas introduces new intervals that extend tuning beyond common-practice, extending music to the 7-limit, including the 7/6 septimal minor third, the 7/5 septimal tritone and the 8/7 septimal major second. Composers who made extensive use of these intervals include Harry Partch and Ben Johnston. Johnston uses a "7" as an accidental to indicate a note is lowered 49 cents, or an upside down seven ("ㄥ" or "") to indicate a note is raised 49 cents (36/35).John Fonville. "Ben Johnston's Extended Just Intonation – A Guide for Interpreters", p. 113, '' Perspectives of New Music'', vol. 29, no. 2 (Summer 1991), pp. 106–137. Specific commas The 64/63 septimal comma, also known as '' Archytas' Co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Second
In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details). For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff positions. Diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones (zero, one, and three). The major second is the interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. On a musical keyboard, a major second is the interval between two keys separated by one key, counting white and black keys alike. On a guitar string, it is the interval separated by two frets. In moveable-do solfège, it is the interval between ''do'' and ''re''. It is considered a melo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ben Johnston (composer)
Benjamin Burwell Johnston Jr. (March 15, 1926 – July 21, 2019) was an American contemporary music composer, known for his use of just intonation. He was called "one of the foremost composers of microtonal music" by Philip Bush and "one of the best non-famous composers this country has to offer" by John Rockwell. Biography Johnston was born in Macon, Georgia, and taught composition and theory at the University of Illinois at Urbana–Champaign from 1951 to 1986, before retiring to North Carolina. During his time teaching, he was in contact with avant-garde figures such as John Cage, La Monte Young, and Iannis Xenakis. Johnston's students have included Stuart Saunders Smith, Neely Bruce, Thomas Albert, Michael Pisaro, Manfred Stahnke, and Kyle Gann. He also considered his practice of just intonation to have influenced other composers, including James Tenney and Larry Polansky. In 1946 he married dance band singer Dorothy Haines, but they soon divorced. In 1950 he married artis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kyle Gann
Kyle Eugene Gann (born November 21, 1955, in Dallas, Texas) is an American professor of music, critic, analyst, and composer who has worked primarily in the New York City area. As a music critic for ''The Village Voice'' (from 1986 to 2005) and other publications, he has supported progressive music, including such "downtown" movements as postminimalism and totalism. Biography Gann was born in 1955 and raised in a musical family. He began composing at the age of 13. After graduating in 1973 from Dallas's Skyline High School, he attended Oberlin Conservatory of Music, where he obtained a B.Mus. in 1977, and Northwestern University, where he received his M.Mus. and D.Mus. in 1981 and 1983, respectively. As well as studying composition with Randolph Coleman at Oberlin, he also studied Renaissance counterpoint with Greg Proctor at the University of Texas at Austin. He studied composition primarily with Ben Johnston (1984–86) and Peter Gena (1977–81), and briefly with Morton Fe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Seventh
The harmonic seventh interval, also known as the septimal minor seventh, or subminor seventh, is one with an exact 7:4 ratio (about 969 cents). This is somewhat narrower than and is, "particularly sweet", "sweeter in quality" than an "ordinary" just minor seventh, which has an intonation ratio of 9:5 (about 1018 cents). The harmonic seventh arises from the harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Britten's ''Serenade for Tenor, Horn and Strings''. Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
