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Whole-tone Scale
In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or ''hexatonic'' scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament". : : The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, ndthe scale creates a blurred, indistinct effect". This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and music the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maximal Evenness
In scale (music) theory, a maximally even set (scale) is one in which every generic interval has either one or two consecutive integers specific intervals-in other words a scale whose notes (pcs) are "spread out as much as possible." This property was first described by John Clough and Jack Douthett. Clough and Douthett also introduced the maximally even algorithm. For a chromatic cardinality ''c'' and pc-set cardinality ''d'' a maximally even set is D = where ''k'' ranges from 0 to ''d'' − 1 and ''m'', 0 ≤ ''m'' ≤ ''c'' − 1 is fixed and the bracket pair is the floor function. A discussion on these concepts can be found in Timothy Johnson's book on the mathematical foundations of diatonic scale theory. Jack Douthett and Richard Krantz introduced maximally even sets to the mathematics literature. A scale is said to have Myhill's property if every generic interval comes in two specific interval sizes, and a scale with Myhill's property is said to be a well-formed scale ... [...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 idioms in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Proceedings Of The Royal Musical Association
In academia and librarianship, conference proceedings is a collection of academic papers published in the context of an academic conference or workshop. Conference proceedings typically contain the contributions made by researchers at the conference. They are the written record of the work that is presented to fellow researchers. In many fields, they are published as supplements to academic journals; in some, they are considered the main dissemination route; in others they may be considered grey literature. They are usually distributed in printed or electronic volumes, either before the conference opens or after it has closed. A less common, broader meaning of proceedings are the acts and happenings of an academic field, a learned society. For example, the title of the ''Acta Crystallographica'' journals is New Latin for "Proceedings in Crystallography"; the ''Proceedings of the National Academy of Sciences of the United States of America'' is the main journal of that academy. Sc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C). These are enharmonically equivalent when twelve-tone equal temperament is used, but are not the same thing in meantone temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mystic Chord
In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived material from its transpositions. When rooted in C, the mystic chord consists of the pitch classes: C, F, B, E, A, D. This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the overtone scale, lacking the perfect fifth. Nomenclature The term "mystic chord" appears to derive from Alexander Scriabin's intense interest in Theosophy, and the chord is imagined to reflect this mysticism. It was coined by Arthur Eaglefield Hull in 1916."Skryab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Scriabin
Alexander Nikolayevich Scriabin (; russian: Александр Николаевич Скрябин ; – ) was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal, which accorded with his personal brand of metaphysics. Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic tones of his scale, while his colour-coded circle of fifths was also inspired by theosophy. He is often considered the main Russian Symbolist composer and a major representative of the Russian Silver Age. Scriabin was an innovator as well as one of the most controversial composer-pianists of the early 20th century ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Generated Collection
In diatonic set theory, a generated collection is a collection or scale formed by repeatedly adding a constant interval in integer notation, the generator, also known as an interval cycle, around the chromatic circle until a complete collection or scale is formed. All scales with the deep scale property can be generated by any interval coprime with (in twelve-tone equal temperament) twelve. (Johnson, 2003, p. 83) The C major diatonic collection can be generated by adding a cycle of perfect fifths (C7) starting at F: F-C-G-D-A-E-B = C-D-E-F-G-A-B. Using integer notation and modulo 12: 5 + 7 = 0, 0 + 7 = 7, 7 + 7 = 2, 2 + 7 = 9, 9 + 7 = 4, 4 + 7 = 11. The C major scale could also be generated using cycle of perfect fourths (C5), as 12 minus any coprime of twelve is also coprime with twelve: 12 − 7 = 5. B-E-A-D-G-C-F. A gener ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval Cycle
In music, an interval cycle is a collection of pitch classes created from a sequence of the same interval class.Whittall, Arnold. 2008. ''The Cambridge Introduction to Serialism'', p. 273-74. New York: Cambridge University Press. (pbk). In other words, a collection of pitches by starting with a certain note and going up by a certain interval until the original note is reached (e.g. starting from C, going up by 3 semitones repeatedly until eventually C is again reached - the cycle is the collection of all the notes met on the way). In other words, interval cycles "unfold a single recurrent interval in a series that closes with a return to the initial pitch class". See: wikt:cycle. Interval cycles are notated by George Perle using the letter "C" (for ''cycle''), with an interval class integer to distinguish the interval. Thus the diminished seventh chord would be C3 and the augmented triad would be C4. A superscript may be added to distinguish between transpositions, using 0&ndas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Perle
George Perle (6 May 1915 – 23 January 2009) was an American composer and music theorist. As a composer, his music was largely atonal, using methods similar to the twelve-tone technique of the Second Viennese School. This serialist style, and atonality in general, was the subject of much of his theoretical writings. His 1962 book, ''Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern'' remains a standard text for 20th-century classical music theory. Among Perle's awards was the 1986 Pulitzer Prize for Music for his Wind Quintet No. 4. Life and career Perle was born in Bayonne, New Jersey. He graduated from DePaul University, where he studied with Wesley LaViolette and received private lessons from Ernst Krenek. Later, he served as a technician fifth grade in the United States Army during World War II. He earned his doctorate at New York University in 1956. Perle composed with a technique of his own devising called "twelve-tone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modes Of Limited Transposition
Modes of limited transposition are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. These scales may be transposed to all twelve notes of the chromatic scale, but at least two of these transpositions must result in the same pitch classes, thus their transpositions are "limited". They were compiled by the French composer Olivier Messiaen, and published in his book ''La technique de mon langage musical'' ("The Technique of my Musical Language"). Technical criteria There are two complementary ways to view the modes: considering their possible transpositions, and considering the different modes contained within them. Definition by chromatic transposition Transposing the diatonic major scale up in semitones results in a different set of notes being used each time. For example, C major consists of C, D, E, F, G, A, B, and the scale a semitone higher (D major) consists of D, E, F, G, A, B, C. By transposing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Olivier Messiaen
Olivier Eugène Prosper Charles Messiaen (, ; ; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called ''modes of limited transposition'', which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. Messiaen entered the Paris Conservatoire at the age of 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held for 61 years until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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