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Structural Level
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ursatz 321IVI Revised
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the har ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schenkerian Analysis
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how it relates to an abstracted deep structure, the ''Ursatz''. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in an individual case, that structure develops into a unique work at the "foreground", the level of the score itself. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a ''tonal space'' that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work (the score) is reached. The analysis uses a specialized symbolic form of musical notation. Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (''Ursatz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, counter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fundamental Structure
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonality
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C is both the tonic of the scale and the root of the tonic chord (which is C–E–G). Simple folk music songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910". Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of tonality—but harmony in almost all Western popular music remains tonal. Harmony in jazz includes many but not all tonal characteristics of the European common practice period, usually known as "classical music". "All harmonic idi ... [...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, ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Authentic Cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a passage ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Development
In music, development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material. Development is often contrasted with musical variation, which is a slightly different means to the same end. ''Development'' is carried out upon portions of material treated in many ''different'' presentations and combinations at a time, while ''variation'' depends upon ''one'' type of presentation at a time. In this process, certain central ideas are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. Listeners may apprehend a "tension between expected and real results" (see irony), which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The standard definition focuses on the thematic and harm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oswald Jonas
Oswald Jonas (January 10, 1897 – March 19, 1978) was a music theorist and musicologist and student of Heinrich Schenker. Despite Schenker's conservative nationalist views Jonas was an admirer of Karl Kraus. In 1935, Jonas founded the Schenker Institut and began publishing ''Der Dreiklang'' with Felix Salzer. The Oswald Jonas Memorial Collection, housed at the University of California, Riverside Library, holds the complete diaries of Schenker and much of the correspondence and manuscripts of Erwin Ratz, Jonas's first student. His primary students include Felix Salzer, Ernst Oster, and Sylvan Kalib. He taught at Roosevelt University in Chicago from 1941 to 1964 and then until his death at the University of California Riverside, where his materials as well as Schenker's ''Nachlass'' is deposited in the Special Collections Library. See also * Klang (music) *Schenkerian analysis Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenke ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klang (music)
In music, ''klang'' (also "clang") is a term sometimes used to translate the German ''Klang'', a highly polysemic word. Technically, the term denotes any periodic sound, especially as opposed to simple periodic sounds (sine tones). In the German lay usage, it may mean "sound" or "tone" (as synonymous to ''Ton''), "musical tone" (as opposed to noise), "note", or "timbre"; a chord of three notes is called a ''Dreiklang'', etc. ''Klang'' has been used among others by Hugo Riemann and by Heinrich Schenker. In translations of their writings, it has erroneously been rendered as " chord" and more specifically as "chord of nature". The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory. Both Hugo Riemann and Heinrich Schenker implicitly or explicitly refer to the theory of the chord of nature (which they recognize as a triad, a ''Dreiklang''), but both reject the theory as a foundation of music because it fails to explain the minor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
